Trinidad Field Recordings in the Archive of Folk Culture PDF Download
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Author: Archive of Folk Culture (U.S.)
Publisher:
ISBN:
Category : Folk music
Languages : en
Pages : 6
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Book Description
Author: Archive of Folk Culture (U.S.)
Publisher:
ISBN:
Category : Folk music
Languages : en
Pages : 6
Get Book Here
Book Description
Author:
Publisher:
ISBN:
Category : Folk music
Languages : en
Pages : 8
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Book Description
Author:
Publisher:
ISBN:
Category : Folk songs
Languages : en
Pages : 16
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Book Description
Author:
Publisher: McFarland
ISBN: 0786478519
Category : Music
Languages : en
Pages : 393
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Book Description
Calypso, with its diverse cultural heritage, was the most significant Caribbean musical form from World War I to Trinidad and Tobago Independence in 1962. Though wildly popular in mid-1950s America, Calypso--along with other music from "the island of the hummingbird"--has been largely neglected or forgotten. This first-ever discography of the first 50 years of Trinidadian music includes all the major artists, as well as many obscure performers. Chronological entries for 78 rpm recordings give bibliographical references, periodicals, websites and the recording locations. Rare field recordings are cataloged for the first time, including East Indian and Muslim community performances and Shango and Voodoo rites. Appendices give 10-inch LP (78 rpm), 12-inch LP (33 1/3 rpm), extended play (ep) and 7-inch single (45) listings. Non-commercial field recordings, radio broadcasts and initially unissued sessions also are listed. The influence of Trinidadian music on film, and the "Calypso craze" are discussed. Audio sources are provided. Indexes list individual artists and groups, recording titles and labels.
Author:
Publisher:
ISBN:
Category : Sound recording libraries
Languages : en
Pages : 188
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Book Description
Author: Archive of Folk Culture (U.S.)
Publisher:
ISBN:
Category : Folklore
Languages : en
Pages :
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Book Description
Author: Maximilian Hendler
Publisher: Hollitzer Wissenschaftsverlag
ISBN: 3990129813
Category : Music
Languages : en
Pages : 258
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Book Description
This publication follows the history of discoveries pertaining to Portuguese travel to the New World, from the 15th century to the 1920s, with an emphasis on the events leading to the development of jazz. The diversity of cultural influences from all over the world have made the United States a treasury of improvised music. Hendler portrays the development of American music scenes in centuries past, reporting on aspects such as the background of the slave trade, particularly in the Antilles, the music of European immigrant families, and the sounds of the (Spanish-controlled) Mississippi. He sketches the musical relationships between Cuba and the United States and their influence on American popular music around 1900. The highly fashionable march music leaves its mark, as do ragtime and spirituals, all blending to form an impressive repertoire of improvised music. The reader is inspired by the richness of forms and styles and the power of the artistic performances in the prehistory of jazz.
Author: Timothy Lloyd
Publisher:
ISBN:
Category : Folklore archives
Languages : en
Pages : 16
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Book Description
Author: Library of Congress
Publisher:
ISBN:
Category : Latin America
Languages : en
Pages : 88
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Book Description
Author: Shane Vogel
Publisher: University of Chicago Press
ISBN: 022656844X
Category : History
Languages : en
Pages : 267
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Book Description
In 1956 Harry Belafonte’s Calypso became the first LP to sell more than a million copies. For a few fleeting months, calypso music was the top-selling genre in the US—it even threatened to supplant rock and roll. Stolen Time provides a vivid cultural history of this moment and outlines a new framework—black fad performance—for understanding race, performance, and mass culture in the twentieth century United States. Vogel situates the calypso craze within a cycle of cultural appropriation, including the ragtime craze of 1890s and the Negro vogue of the 1920s, that encapsulates the culture of the Jim Crow era. He follows the fad as it moves defiantly away from any attempt at authenticity and shamelessly embraces calypso kitsch. Although white calypso performers were indeed complicit in a kind of imperialist theft of Trinidadian music and dance, Vogel argues, black calypso craze performers enacted a different, and subtly subversive, kind of theft. They appropriated not Caribbean culture itself, but the US version of it—and in so doing, they mocked American notions of racial authenticity. From musical recordings, nightclub acts, and television broadcasts to Broadway musicals, film, and modern dance, he shows how performers seized the ephemeral opportunities of the fad to comment on black cultural history and even question the meaning of race itself.
