Crying for the Carolines PDF Download
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Author: Bruce Bastin
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 120
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Book Description
Author: Bruce Bastin
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 120
Get Book Here
Book Description
Author: Bruce Bastin
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 122
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Book Description
Author: Edward Komara
Publisher: Rowman & Littlefield
ISBN: 0810889226
Category : Music
Languages : en
Pages : 319
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Book Description
Search the Internet for the 100 best songs or best albums. Dozens of lists will appear from aficionados to major music personalities. But what if you not only love listening to the blues or country music or jazz or rock, you love reading about it, too. How do you separate what matters from what doesn’t among the hundreds—sometimes thousands—of books on the music you so love? In the Best Music Books series, readers finally have a quick-and-ready list of the most important works published on modern major music genres by leading experts. In 100 Books Every Blues Fan Should Own, Edward Komara, former Blues Archivist of the University of Mississippi, and his successor Greg Johnson select those histories, biographies, surveys, transcriptions and studies from the many hundreds of works that have been published about this vital American musical genre. Komara and Johnson provide a short description of the contents and the achievement of each title selected for their “Blues 100.” Entries include full bibliographic citations, prices of copies in print, and even descriptions of specific editions for book collectors. 100 Books Every Blues Fan Should Own also includes suggested blues recordings to accompany each recommended work, as well as a concluding section on key reference titles—or as Komara and Johnson phrase it: “The Books behind the Blues 100.” 100 Books Every Blues Fan Should Own serves as a guide for any blues fan looking for a road map through the history of—and even history of the scholarship on—the blues. Here Komara and Johnson answer the question of not only what is a “blues” book, but which ones are worth owning.
Author: William Brook Barlow
Publisher:
ISBN:
Category : Blues (Music)
Languages : en
Pages : 620
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Book Description
Author: Edward Komara
Publisher: Routledge
ISBN: 1135958319
Category : Music
Languages : en
Pages : 1274
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Book Description
The Blues Encyclopedia is the first full-length authoritative Encyclopedia on the Blues as a musical form. While other books have collected biographies of blues performers, none have taken a scholarly approach. A to Z in format, this Encyclopedia covers not only the performers, but also musical styles, regions, record labels and cultural aspects of the blues, including race and gender issues. Special attention is paid to discographies and bibliographies.
Author: Edward Komara
Publisher: Routledge
ISBN: 1135958327
Category : Art
Languages : en
Pages : 1279
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Book Description
The first full-length authoritative Encyclopedia on the Blues as a musical form. A to Z in format, this work covers not only the performers, but also musical styles, regions, record labels and cultural aspects of the blues.
Author: Edward M. Komara
Publisher: Taylor & Francis US
ISBN: 9780415927017
Category : Biography & Autobiography
Languages : en
Pages : 746
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Book Description
First published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.
Author: Zilpha Keatley Snyder
Publisher: Simon and Schuster
ISBN: 1416990518
Category : Juvenile Fiction
Languages : en
Pages : 241
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Book Description
This classic 1968 Newbery Honor Book, The Egypt Game, is available in a brand new paperback edition!
Author: Stefan Grossman
Publisher: Alfred Music Publishing
ISBN: 9780739043288
Category : Music
Languages : en
Pages : 92
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Book Description
The Early Masters of American Blues series provides the unique opportunity to study the true roots of modern blues. Stefan Grossman, noted roots-blues guitarist and musicologist, has compiled this fascinating collection of 14 songs, transcribed exactly as performed by legendary blues masters Rev. Gary Davis, Lonnie Johnson, Blind Boy Fuller, and Mississippi John Hurt. In addition to Stefan's expert transcriptions, the book includes a recording containing the original artist recordings so you can hear the music as they performed it.
Author: Cecelia Conway
Publisher: Univ. of Tennessee Press
ISBN: 9780870498930
Category : History
Languages : en
Pages : 428
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Book Description
Throughout the Upland South, the banjo has become an emblem of white mountain folk, who are generally credited with creating the short-thumb-string banjo, developing its downstroking playing styles and repertory, and spreading its influence to the national consciousness. In this groundbreaking study, however, Cecelia Conway demonstrates that these European Americans borrowed the banjo from African Americans and adapted it to their own musical culture. Like many aspects of the African-American tradition, the influence of black banjo music has been largely unrecorded and nearly forgotten--until now. Drawing in part on interviews with elderly African-American banjo players from the Piedmont--among the last American representatives of an African banjo-playing tradition that spans several centuries--Conway reaches beyond the written records to reveal the similarity of pre-blues black banjo lyric patterns, improvisational playing styles, and the accompanying singing and dance movements to traditional West African music performances. The author then shows how Africans had, by the mid-eighteenth century, transformed the lyrical music of the gourd banjo as they dealt with the experience of slavery in America. By the mid-nineteenth century, white southern musicians were learning the banjo playing styles of their African-American mentors and had soon created or popularized a five-string, wooden-rim banjo. Some of these white banjo players remained in the mountain hollows, but others dispersed banjo music to distant musicians and the American public through popular minstrel shows. By the turn of the century, traditional black and white musicians still shared banjo playing, and Conway shows that this exchange gave rise to a distinct and complex new genre--the banjo song. Soon, however, black banjo players put down their banjos, set their songs with increasingly assertive commentary to the guitar, and left the banjo and its story to white musicians. But the banjo still echoed at the crossroads between the West African griots, the traveling country guitar bluesmen, the banjo players of the old-time southern string bands, and eventually the bluegrass bands. The Author: Cecelia Conway is associate professor of English at Appalachian State University. She is a folklorist who teaches twentieth-century literature, including cultural perspectives, southern literature, and film.
