Discography to: Music of the colonial and revolutionary era
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Their goal was to build bridges of understanding and appreciation between Americans of different religions, nationalities, ethnic and racial backgrounds, economic status, ages, gender and political persuasions, using history through folk song. Streaming and Download help.
Find Yourself Alone by Keeskea. Australian multi-instrumentalist takes a refreshingly organic approach to ambient, incorporating glockenspiel, zither and more. The Imaginational Anthem series comes to Bandcamp.
Listen Of by Paul Bryan. Virtual Heaven by Infinity Crush. Despite its themes of isolation and loneliness, Caroline White's latest batch of folk-pop confessionals is an LP brimming with confidence. Only the Blues by Dylan Moon.
Colonial & Revolution Songs (Disc 1 of 2)
The mysterious new record from Dylan Moon on RVNG puts psychedelic touches on bedroom folk, making for strange, wavy songs. Explore music.
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Purchasable with gift card. We Gather Together Old Hundredth The Willow Tree Jennie Jenkins The Trappan'd Maiden Indeed, American popular music, from jazz, or blues, to soul, rock, or country, boasts complex, culturally diverse roots, connected to specific historical and geographical contexts, and linked with distinct communities, defined by age, ethnic origins, social backgrounds, or gender.iwefuxid.cf
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Thus, if the various components of American popular music can fairly easily be traced and identified, how should we consider the final products and the industry that packages and markets them? How should we assess the hybridizing processes that give birth to the songs and dances? What about the economic, political, ideological superstructures that shapes them? In fine , to return to the initial question of my colleague, what is American popular music? Many of these styles have their origin outside the Anglo-American and African-American communities recognized today as the originators of the more popular genres mentioned above.
As nostalgic markers of an idealized homeland, the early recordings of these musical traditions met with unexpected success. Ethnic programs on local radio stations enjoyed similar success. Accordingly, the ethnic musics that could not easily adapt and evolve to the burgeoning local taste disappeared. On the other hand, the music of the larger groups, particularly those living in tight-knit rural or urban communities, not only survived, but thrived.
Songs were redone and reshaped, new lyrics, different instruments and rhythms were added, and tunes were altered slightly. Bhangra, for instance, or the latest forms of banda and narcocorridos, rely heavily on technology, and make frequent use of synthesizers, samplers, and remix techniques.
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Hybridizing processes, involving different communities, are also the rule. Bhangra, salsa, klezmer and zydeco have established deep connections with African-American genres, including rap, techno, jazz, or reggae, while Cajun is closer to country music, or even Irish idioms. Tamburitza has cultivated its links with Croatia, and conjunto with its German and Czech origins. The list and its nuances would be endless.
If Laotian music develops mainly within the Laotian community, with few festivals or concerts directed towards outsiders, and scant media attention, on the contrary, klezmer has branched outside the Jewish community, with bands like The Klezmatics playing klezmer renditions of Woody Guthry to crossover success. In many regions, from the Midwest to Southwestern Louisiana, local councils have understood the economic interest of marketing these musics as tourist attractions, and in places like Lafayette, Louisiana, zydeco and Cajun have been turned into the engines of local development, with the risks of folklorization, dilution, and distortion inherent to performative, cultural marketing.
Identity, a concept whose primary meaning applies to the unique character of an individual, is thus given a collective dimension, as if the community possessed essences and characteristics shared by all its members.
The Mexican-Americans musicians living and very often born in the Upper Midwest are a telling example of the limits of too systematically equating a specific culture and environment with a given music. Accordingly, their music was disparaged as unpleasant and stupid, creating a sense of shame and humiliation in many non-Anglo youth, and prompting them to forsake the music connected to their origins.
If we were in the car, I would turn the music down or off. The accordion being the lead instrument in conjunto and Latin music at the time, I was even more ashamed of it. I tried to stay away form accordion music as much as possible.
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The Cajun fiddler D. Much of the music originating from non-Anglo communities is now sought after by the very people who mocked, or ignored it. It is often heard in clubs, on major national television or radio programs.
Music of the World War II Era
Its performers have received accolades from the mainstream press, have been asked to collaborate with leading musicians in various established genres, pop, rock, hip hop, etc. The National Heritage Fellowship program created in by the National Endowment for the Arts to honor traditional artists systematically includes non-Anglo musicians. To what extent are these musics modern? Do they flag the communities that produce them as excitingly contemporary?
Or do they on the contrary point to their quaint and traditional dimensions that the pace of fads and fashions and the uneasiness triggered by an increasingly globalized world have turned into highly valued qualities?
And more fundamentally, what conception of modernity do they refer to?