Music Suited to a Lady
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Jane Hanson, a music interpreter at Colonial Williamsburg, describes 17th-century musical instruments and colonial views on music and musicianship.
Music Passed from Ear to Ear
Anonymous (not verified)
Thu, 01/22/2009 - 14:23
Description
Emily James, an interpreter at Colonial Williamsburg, discusses the place of music in slaves' lives, looking at the double meanings of many of the songs' lyrics.
To listen to this podcast, select "All 2006 Podcasts," and scroll to the June fifth program.
Scholars in Action: Analyzing Blues Songs
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Scholars in Action presents case studies that demonstrate how scholars interpret different kinds of historical evidence. "Two White Horses Standin' in Line" (sung by Smith Cason) and "Worry Blues" (sung by Jesse Lockett), both recorded in 1939 by folklorist Alan Lomax, are known as "blues" songs.
The blues emerged as a musical form among African Americans in the late 19th and early 20th centuries and gained the attention of folklorists and record companies. Historians have studied blues and other African American musical forms to gain insight into the experiences and perspectives of poor and working-class African Americans who left few written records about their lives.
Empires, Multiculturalisms and Borrowed Heartsongs: What Does it Mean to Sing Russian/Mennonite Songs?
Description
According to the Library of Congress website, "As "colonists" in 19th-century Russia, Mennonites sang German diasporic choral music and borrowed Russian choral music; when war drove many to North America, Mennonites drew on this repertoire and borrowed new repertoires to forge links to a new elite: North American classical choral singing circles. In this webcast, Jonathan Duek, an ethnomusicologist and visiting assistant professor at the University of Maryland School of Music, traces this story not as a linear narrative, but as genealogical fragments, beginning with the resonances of particular songs for present-day Mennonite writers, historians, and singers; and then exploring past moments of the production and reception of these songs in Russia and North America."
Singing on the Illinois Frontier
Description
John Mack Faragher of Yale University considers the importance of singing as a pastime for antebellum frontier families and the view of frontier life that surviving lyrics provide. He examines particularly the views of death and mortality presented in many lyrics.
To view this clip, select "Singing on the Illinois Frontier" under "Frontier Settlement Video."
William P. Gottlieb: Photographs from the Golden Age of Jazz
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Writer-photographer William P. Gottlieb (1917–2006) documented the New York and Washington, D.C. jazz scene from 1938 to 1948 in more than 1,600 photographs. During the course of his career, Gottlieb took portraits of prominent jazz musicians—including Louis Armstrong, Duke Ellington, Charlie Parker, Billie Holiday, Dizzy Gillespie, Earl Hines, Thelonious Monk, Ella Fitzgerald, and Benny Carter—and legendary venues, such as 52nd Street, the Apollo Theatre, Cafe Society, the Starlight Roof, and Zanzibar. The site also features approximately 170 related articles by Gottlieb from Down Beat magazine; 16 photographs accompanied by Gottlieb's audio commentary on various assignments; a 4,300-word biography based on oral histories; and a 31-title bibliography. Extremely valuable for jazz fans, music historians, musicians, and those interested in urban popular culture.