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Preview this item Preview this item. Anglo-American ballads. Subjects Ballads, English -- United States. Folk songs, English -- Various - Anglo-American Ballads States. Ballads, English. View all subjects More like this User lists Similar Items. Allow this favorite library to be seen by others Keep this favorite library private.
Find a copy in the library Finding libraries that hold this item Music Division. Various - Anglo-American Ballads User-contributed reviews Add a review and share your thoughts with other readers. Today scholars have expanded the field by defining folk music as orally transmitted songs and instrumental expressions that are passed on in community settings and generally show a degree of stability Various - Anglo-American Ballads time.
Rather than viewing folk expressions as vanishing antiquities, this perspective suggests folk music can be a dynamic process that continues to flourish within many communities of our modern society. In the late 19th and early 20th centuries, American folk music collectors wrote down the words and melodies to a variety of traditional expressions including Native American ritual songs, The Old New Town - Jan Jarczyk - > American spirituals and work songs, Anglo American ballads and fiddle tunes, and western cowboy songs.
Later they broadened their interest to include the traditional expressions of ethnic and immigrant communities such as the practices of Hispanic, Irish, Jewish, Caribbean, and Chinese Americans, most of whom lived in urban areas.
Most Anglo and African American folk genres are built around relatively simple often pentatonic melodies, duple or triple meter time signatures, and a series of harmonic structures built around the tonic, subdominant, and dominant chords. Various - Anglo-American Ballads much of the emotional appeal of folk music comes from the grain or tension of the voice.
Vocal textures vary greatly, ranging from the high, tense, nasal delivery associated with white mountain singers, to the more relaxed, throaty, Various - Anglo-American Ballads timbre of southern African American blues and spiritual singers.
In addition to studying song texts and melodies, folk music scholars have paid a great deal of attention Various - Anglo-American Ballads the social function of folk music. They seek to understand how a particular song or instrumental piece works within a specific social situation for a particular group of people.
For Boatman Is The Hero - Various - Punks Not Dead! It Just Smells That Way. (All Media, MP3), how do Native American chants Various - Anglo-American Ballads African American spirituals operate within the context of a religious or worship ceremony; how are Anglo and Celtic American fiddle tunes central to Appalachian and community gatherings; how did traditional blues and ballads reflect contrasting world views of southern blacks Various - Anglo-American Ballads whites; and how do West Indian steel bands and Jewish klezmer ensembles serve as markers of Various - Anglo-American Ballads pride?
The self-conscious revival of folk music by middle-class urban Americans has been going on since the s. Ballads are basically folk songs that tell stories through the introduction of characters in a specific situation, the building up of dramatic tension, and the resolution of that tension.
Ballads were originally brought to America by British, Scottish, and Scotch-Irish immigrants, many of whom eventually settled in the mountainous regions of the American south. The melodies of Anglo American ballads are simple, often built around archaic sounding pentatonic five note and hexatonic six-tone scales that may feature large jumps or gaps between notes. Songs are traditionally sung a cappella in a free meter style, or with simple guitar or banjo accompaniment. The voice is delivered in a high, tense, nasal style.
Ballads are most often set in four line stanzas, with the second and fourth line rhyming:. While older British and Scottish ballads found in the American South dealt with themes of ancient kings, queens, and magical happenings in faraway places, the 18th- Various - Anglo-American Ballads 19th -century ballads that developed in America tell stories of everyday folk involved in everyday life events, usually set in the present or recent past.
Sentimental and tragic love stories, often involving violence and death, were common. Many American ballads express strong moral sentiments, warning listeners about the consequences of irresponsible behavior:. The African American Spiritual has its origins in the Various - Anglo-American Ballads practices of 18th- and 19th -century American Neo Slum - Various - Final Count: Old Japanese Flexis who converted to Christianity during the great awakening revivals.
The earliest spirituals were African-style ring shouts, based on simple call and response lyrics chanted against a driving rhythm produced by clapping and foot stomping. Vocal ornamentations slides, glides, extended use of falsettocall and response singing, Io Sono Un Rastaman - Various - Reggae Radio Station blues tonality characterized these folk spirituals.
In the reconstruction period black college choirs such as the Fisk Jubilee Singers arranged Various - Anglo-American Ballads spirituals into four-part harmony, a form that became known as the concert spiritual. A Various - Anglo-American Ballads of African and European musical practices, the spiritual epitomizes the sycretic blended nature of much American folk music resulting from the mixing of Africans and Europeans in the Americas.
The texts of many spirituals are taken from Old Testament themes and stories. The plight of the Israelites and their escape from bondage to the promised land was an especially powerful story retold by the spirituals:. The spirituals are thus seen as expressions of religious faith and resistance to slavery. In the 20th-century spirituals evolved into the more urban, New Testament—centered gospel songs.
Unlike the anonymous folk spirituals, gospel songs were composed and copyrighted by songwriters like Thomas Dorsey and Reverend William Herbert Brewster, and by the s were being recorded by urban church singers. Some, like Mahalia Jackson, the Dixie Hummingbirds, and Dead Kennedys - Bedtime For Democracy Ward Singers, turned professional and reached national and international audiences through their tours and recordings.
But most gospel singing remained rooted in African American church ritual, and to this day can be heard in black communities throughout the north and south. Musically, gospel is a blending of spirituals, blues, and the song sermons of the black preacher. Blues tonalities are common, and singers are known for their intensive vocal ornamentations, which include bending and slurring notes, falsetto swoops, and melismas groups of notes or tones sung across one syllable of a word.
Although gospel lyrics are strictly religious in nature, gospel music derives much of its sound from blues and jazz.
Likewise, gospel music has been a source for various secular styles, including early rock and roll, soul music, and most recently gospel rap. During the Civil Rights era the melodies of old spirituals and gospel songs were used with new lyrics expressing the need to overcome Jim Crow segregation. Blues music was the first significant form of secular music created by African Various - Anglo-American Ballads ex-slaves in the deep South in the late 19th and early 20th centuries.
Various Artists. View Cart. Year s Released Genre s American Folk. Country s United States. Instrument s Banjo ; Guitar ; Vocals ; Vocals, backing. Language s English. Download Liner Notes LP. Download Liner Notes CD.
Fast Folk Musical Magazine Vol. Happy Woman Blues Lucinda Williams. How Many More? Serious Bizness. Click to Join. Item added to cart. Continue Shopping.
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