Born in Minnespta and raised in Chicago, Jenny Vincent was educated at a progressive private school and Vassar College. Introduced to international folk music at an early age, she remains a performer and champion of this ""music of the people."" In 1936, Jenny and her first husband visited northern New Mexico at the invitation of D.H. Lawrence's ......
This book recounts the fascinating life of Roni Stoneman, the youngest daughter of the pioneering country music family, and a girl who, in spite of poverty and abusive husbands, eventually became The First Lady of Banjo, a fixture on the Nashville scene, and, as Hee Haw's Ironing Board Lady, a comedienne beloved by millions of Americans ......
This book recounts the fascinating life of Roni Stoneman, the youngestdaughter of the pioneering country music family, and a girl who, in spiteof poverty and abusive husbands, eventually became The First Lady ofBanjo, a fixture on the Nashville scene, and, as Hee Haw's Ironing BoardLady, a comedienne beloved by millions of Americans ......
Origins of Songs, Sounds, and Liturgical Drama of Hispanic New Mexico
'Cantemos al Alba' is the first book to trace the origins of Hispanic New Mexico's liturgical drama, early songs, and sounds to ancient European traditions. Tomas Lozano weaves a historical unifying thread of events originating in medieval Spain, passing through Mexico and into New Mexico. In the process, Lozano uncovers folklore never treated ......
This book addresses the controversy of whether there is a growing homogenization of the world's popluar music - the universal language of youth - or whether there is a continuing and perhaps ever increasing diversity of song styles and forms. The more conventional "cultural imperialism" hypothesis is tested. The focus is on how the process of popular music production is perceived by local musicians, who are immersed in overlapping international, national and local contexts of production. Reflections on theory, descriptions of local case studies, and interview data have been provided by the international Communication and Youth Culture Consortium and integrated by the authors in an attempt to understand how societal influences are tempered by and interpreted through cultural and semiotic codes as well as individual musicians' experiences and creative talents.
When the Holy People gave the Navajos the gift of music, they said, ""We'll be in your mountains, we'll be in your songs"". This collection of Navajo music and the accompanying recording is a remarkable collaboration between a university music professor and her one-time student, a traditional Navajo who teaches on the reservation. It is an ......
Winner of the Carr P. Collins Award and the Miss Ima Hogg Historical Achievement Award, Last Cavalier is the never-before-told story of the remarkable life and career of John A. Lomax, pioneering American folklorist, canny businessman, influential educator, and patriarch of an extended family of artists, performers, and scholars.
This long-awaited book vividly documents the folk music of El Rio Grande del Norte, an area extending from the Mexican border on the south to Southern Colorado on the north and from the Great Plains on the east to the Continental Divide on the West. Loeffler has collected examples of the musical forms used over the centuries in this often isolated ......
This book addresses the controversy of whether there is a growing homogenization of the world's popluar music - the universal language of youth - or whether there is a continuing and perhaps ever increasing diversity of song styles and forms. The more conventional "cultural imperialism" hypothesis is tested. The focus is on how the process of popular music production is perceived by local musicians, who are immersed in overlapping international, national and local contexts of production. Reflections on theory, descriptions of lcoal case studies, and interview data have been provided by the international Communication and Youth Culture Consortium and integrated by the authors in an attempt to understand how societal influences are tempered by and interpreted through cultural and semiotic codes as well as individual musicians' experiences and creative talents.
