Tag Archives: appalachian music

This strange music of the dulcimore appeals to the heart of the Mountaineer

Just as there is a vast gap between the poetry of art and the poetry of the folk, so is there a vast difference between the music of the Sourwood Mountain fiddler and the music of art.

This antique musician knows little about Wagner and the musical drama and the Italian melodists, and cares less. His music causes a feeling of ennui to steal over one, but he is giving his hearers something they can understand. His strains are the outbursts from the depths of a being that is sincere, and he fiddles and sings because he feels.

In the words of Svenstrupp, the great Danish authority on folksongs, the words of these canticles of love and woe “talk like a mother crooning to her babe, and have scarcely a kenning.” It is related that when the maidservant used to sing “Barbara Allen’s Cruelty” to little Oliver Goldsmith, he would shed tears; that the recital of “Chevy Chace” moved Sir Philip Sidney as nothing else could move him.

But the transition to a new and enlightened age is inevitable.

0 comments

An interview with the authors of ‘Wayfaring Strangers’

We reached back to explore medieval troubadours in the south of France, wandering minstrels who fanned out across Europe, and Scottish ballad collectors, composers, singers, and fiddlers. Above all, though, our book is primarily about the nameless families—across many generations—who held onto the one thing that cost nothing, took up no space in their travel trunks, and was perhaps their most valuable symbol of identity: the songs and tunes they carried over centuries and the miles. In particular, we spent years researching these intrepid wayfarers: Scottish emigrants to Ulster in the north of Ireland, who blended their musical traditions with the Irish in their new home and transported these on their Atlantic crossing to America. They often seemed drawn to the distant horizon and their journeys have been a carrying stream of music, fed by so many sources and in turn feeding out along countless tributaries. As Scots-Irish, many found Appalachian homes and new ways of sharing their long-held musical traditions. To tell the truth, at times it felt as if we were traveling along with them, and we developed a real affinity for their unshakeable spirit and their incredible persistence in keeping their music and traditions alive.

0 comments

Rediscovering the Roots of Bluegrass: Historically Significant Recordings from the Great Smoky Mountains Released

According to Olson, the recordings he discovered, made in Haywood County, NC, by folklorist and linguist Joseph S. Hall in the 1950s, represent “the missing link between old-time string music and bluegrass, two music genres . . . whose connections are not widely understood.”These historically significant recordings, featuring music performances by the late five-string banjo master Carroll Best and some of his friends, document that Best was a pioneer of the melodic, three-finger banjo style.

BestCDcoverArt

Used today by numerous banjo players, including Bill Keith, Bela Fleck and Tony Trischka, the melodic style allows the banjo player to play more melody notes than the more widely known “Scruggs-style” bluegrass banjo. A new CD, “Carroll Best and The White Oak String Band: Old-Time Bluegrass from the Great Smoky Mountains, 1956 and 1959,” is a collection of informal jam sessions that occurred during Hall’s postwar forays into the Smokies.

In 1956, Hall recorded such local musicians as Best, destined to become one of the most significant banjo players of his generation, along with his wife, Louise Best, S.T. Swanger and Don Brooks, while in 1959, he recorded Best, Raymond Setzer, Billy Kirkpatrick and French Kirkpatrick.

1 comments

Making Music: The Banjo, Baltimore, and Beyond

The banjo is frequently associated with Appalachia, appropriately in some regards, but many people still believe, wrongly, that the banjo originated there. Thomas Jefferson, in Notes on the State of Virginia (1781), correctly pointed out that the banjo had its roots in Africa: “The instrument proper to them [enslaved African Americans] is the Banjar, which they brought hither from Africa.”

0 comments
↑ Back to top

This collection is copyright ©2006-2014 by Dave Tabler. All visuals are used in accordance with the Fair Use Law (Per Title 17—United States Code—Section 107) and remain the property of copyright owners. Site Design by Amaru Interactive