Southern American Folk Fiddle Styles

Burman-Hall, Linda

doi:10.2307/849746

Cited by 13 publications

(4 citation statements)

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“…Early research focused on the spatial distribution of musical forms, musical hearths and diffusion, delimitation, and thematic analysis (Kong 1995(Kong , 1996. While Cornish (1928Cornish ( , 1934 and Abercrombie (1933) worked to connect sight to sound, Jackson (1952), Burman-Hall (1975), Crowley (1987), and especially Carney (1994) developed an approach to music heavily steeped in the traditions of Berkeley cultural geography. Like other topics in cultural geography, however, music was often treated as a static cultural artifact bound by its locality and divorced from its political and social context.…”

Section: Exploring Musical Geographiesmentioning

confidence: 98%

Contesting culture: a case study of commodification in Cuban music

Finn

2008

GeoJournal

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After more than three decades of isolation from the West and a paralyzing economic crisis in the early 1990s, Cuba is increasingly globally active in both cultural and economic realms. In this paper I use Bourdieu's (The fields of cultural production, 1993) fields of cultural production as a general frame through with to inspect the commercialization of Cuban music. Through a case study with Juan de Marcos Gonzalez, the creator of the Buena Vista Social Club, I explore the dialectical relationship of music as an expression of cultural and a cultural asset, and at the same time a commodity for the international market. I show that de Marcos uses his position between the international music industry and the local music scene in order to preserve cultural authenticity and survive economically. In doing so he challenges the all-to-typical place of the artist in the contested space of cultural production between the West and the Third World.

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Section: Exploring Musical Geographiesmentioning

confidence: 98%

Contesting culture: a case study of commodification in Cuban music

Finn

2008

GeoJournal

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“…in Europe) with small old-time communities, and I have heard his tunes played by outsiders, but never insiders, at many different conventions. Isles ancestors (e.g., Burman, 1968;Burman-Hall, 1975;Frisch, 1987;Goertzen, 1985;Guntharp, 1980;Titon, 2001). There also exists a massive volume of fiddle tune transcriptions, The Milliner-Koken Collection of American Fiddle Tunes (2011), which contains 1404 transcriptions -more than enough for a systematic musicologist to use as a data set for preliminary analyses.…”

Section: Hypothesis Testingmentioning

confidence: 99%

A Mixed-Methods Study of Affective Difference in the Old-Time Music Revival in Appalachian Virginia and North Carolina

Wood¹

2017

Preprint

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This dissertation examines differences in affective response to music among players of Appalachian old-time music, primarily in Appalachian Virginia and North Carolina. While a small number of musicians with family or community links to previous generations of old-time musicians in this area still play the music today, the majority of contemporary old-time musicians come to old-time as cultural outsiders. Cultural, socio-economic, and political differences are easily observed when these two types of musicians come in contact with one another, but significant differences also exist in the domains of musical behavior and experience between insiders and outsiders. These differences likely serve as a catalyst for the animosity that some insider musicians have towards certain outsider musicians, yet they have been mostly unaddressed in the extant research on the old-time revival. Under ideal conditions, and usually in jam sessions, some old-time musicians (usually outsiders) claim to experience altered states of consciousness that can be variously understood as “flow,” “trance,” or “strong experiences with music.” Other musicians (usually insiders) deny ever having such experiences, yet they are heavily invested in this music and derive great pleasure from their involvement with it. The sound and structure of the music in these jam sessions seems to be more important to outsiders in facilitating these altered states than are extra-musical factors (e.g., the historical significance of a tune), which tend to be more important to insiders’ experiences. To investigate these observations in a more systematic way participant-observation and semi-structured interviews were combined with empirical survey data on personality and demographic factors, musical preferences, and affective response to music in order to examine relationships between these factors. These data together suggest that there are significant and widespread differences in the way that certain subgroups experience old-time music and that, for my participants, Openness to Experience and related constructs correlate strongly with differences in musical behavior and experience. The dissertation concludes with suggestions for how this mixed method approach could be used to investigate other phenomena of interest to both ethnomusicologists and music psychologists, such as the parallel revival tradition of Sacred Harp singing.

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“…This differs from existing geographical research on music which reflects broader cultural geographical interests in the tradition of Berkeley cultural geography (see a recent review by Nash and Carney, 1996). In that tradition, research tends to be much more descriptive, observing, for example, the spatial distribution of musical forms, activities, performers and personalities (Crowley, 1987;Carney, 1987a;1987b); musical hearths and diffusion of musical styles (Jackson, 1952;Ford, 1971;Francaviglia, 1978;Carney, 1987c;Glasgow, 1987;and Horsley, 1987), and delimiting areas that share certain musical traits (Lomax, 1960;Lomax and Erickson, 1971;Burman-Hall, 1975;Gastil, 1975;Nash, 1975), or relatedly, identifying the character and personality of places as gleaned from lyrics, melody, instrumentation and the general 'feel' or sensory impact of the music (Gleason, 1969;Curtis and Rose, 1987;and Curtis, 1987). While interesting and valuable, much of this work tends to focus very much on music in North America, in particular, the U.S.A. (see, for example, Carney, 1987), which, in many ways, has been one of the tremendous forces of cultural influence, and which some would describe as one of the sources of western cultural imperialism.…”

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confidence: 99%

Popular music in a transnational world: the construction of local identities in Singapore

Kong

1997

Asia Pacific Viewpoint

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As an area of geographical inquiry, popular music has not been explored to any large extent. Where writings exist, they have been somehwat divorced from recent theoretical and methodological questions that have rejuvenated social and cultural geography. In this paper, I focus on one arena which geographers can develop in their analysis of popular music, namely, the exploration of local influences and global forces in the production of music. In so doing, I wish to explore how local resources intersect with global ones in a process of transculturation. Using the example of English songs by one particular songwriter and artiste whose works are part of the popular music industry mainstream, and that of Mandarin songs of the genre xinyao, I will show that, despite increasing globalising forces, music is still an expression of local/national influences. Indeed, I will argue that globalisation intensifies localisation.

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Southern American Folk Fiddle Styles

Cited by 13 publications

References 0 publications

Contesting culture: a case study of commodification in Cuban music

Contesting culture: a case study of commodification in Cuban music

A Mixed-Methods Study of Affective Difference in the Old-Time Music Revival in Appalachian Virginia and North Carolina

Popular music in a transnational world: the construction of local identities in Singapore

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