REVIEW: Dick Weissman.WHICH SIDE ARE YOU ON? AN INSIDE HISTORY OF THE FOLK MUSIC REVIVAL IN AMERICA. New York: Continuum, 2005.

2006 ◽  
Vol 43 (2) ◽  
pp. 188-190
Author(s):  
Lee Haring
Keyword(s):  
New York ◽  
Folk Music ◽  
Folk Music Revival ◽  
History Of

A Brief History of the Tarantella Revival

2017 ◽  
Author(s):  
Incoronata Inserra
Keyword(s):  
Folk Music ◽  
Video Production ◽  
Left Wing ◽  
Folk Revival ◽  
Folk Music Revival ◽  
History Of ◽  
Mainstream Culture

This chapter offers an overview of the post-1990s tarantella revitalization in Italy, particularly of the much-popularized pizzica subgenre from the Salento area, by looking at the local and national festival scene, as well as music and video production, while also exploring the increasing visibility of tarantella within Italian popular and mainstream culture. Moreover, it explores national and international scholarly debates regarding this revitalization phenomenon and situates these debates within the current scholarship on the Italian Southern Question. Finally, the chapter juxtaposes the current revival of Southern Italian folk music with the 1970s folk music revival in Italy, particularly in relation to its left-wing ideology and as a foray into changing revival dynamics at play within Italian folk revival context.

I Come for to Sing

2018 ◽  
pp. 96-114
Author(s):  
Kevin D. Greene
Keyword(s):  
United States ◽  
New York ◽  
African American ◽  
Folk Music ◽  
The United States ◽  
American Music ◽  
African American Music ◽  
Vernacular Music ◽  
Folk Music Revival ◽  
The Way

From 1930 to 1970, a second folk music revival took hold in the United States and Europe, determined to capture and preserve for posterity US and European vernacular music. Critical to this collection of folklorists, academics, political activists, and entrepreneurs was the history and impact of African American music on folklore and culture. Big Bill, quite familiar with the types of country and Delta blues the folk music revival craved stood happy to oblige. Soon, one of the most sophisticated and urbane performers of the age began performing alone accompanied by his guitar for folk audiences from New York to Chicago. Within this community, Broonzy found a culture and environment willing and able to support his transitioning career from black pop star to folk music darling. Along the way, he would meet more individuals who could aid in his career reinvention and he both accepted and rejected their expectations of him and his music.

The new York Bartók Archives: Genesis and history

2012 ◽  
Vol 53 (1-3) ◽  
pp. 341-348
Author(s):  
Elliott Antokoletz
Keyword(s):  
New York ◽  
Folk Music ◽  
Bela Bartok ◽  
Doctoral Thesis ◽  
History Of

The article presents information concerning the New York Bartók Archives, as gleaned by the author from more than thirty years (1978–2011) of conversations with Benjamin Suchoff, his writings, and some other scholarly sources. Suchoff came into contact with Victor Bator, the executor and trustee of the Bartók estate, in 1953 as he was trying to locate the manuscripts he needed for his doctoral thesis on Bartók’s Mikrokosmos. Soon he became curator and, eventually, head of the New York Bartók Archives. The article describes Suchoff ’s career as editor, with references to the history of Bartók’s manuscripts, and to the major projects of the New York Bartók Archive such as the publication of Bartók’s works dedicated to Romanian, Turkish, Yugoslav, Hungarian, and Slovak folk music, his theoretical writings (Béla Bartók Essays), and some of his compositions (The Archive Edition series).

Survival of Greek Folk Music in New York 1

2018 ◽  
pp. 167-177
Author(s):  
Sotirios (Sam) Chianis
Keyword(s):  
New York ◽  
New York City ◽  
Folk Music ◽  
York City ◽  
Musical Instrument ◽  
Urban Center ◽  
History Of ◽  
Regional Music ◽  
The Many ◽  
Greek Folk Music

Long America’s premier port and urban center, New York City has always been a fulcrum of musical expression. In “Survival of Greek Folk Music in New York,” esteemed ethnomusicologist and musician Sotirios (Sam) Chianis sets the stage by ably delineating the many forms of Greek regional music from the islands and the mainland. He then traces the long history of music, musicians, venues, and instrument makers in New York. Among his topics are the men’s coffee houses, local Greek record companies and record producers, Greek newspapers, the Greek Musicians’ Union, musical instrument makers, and the rise of bouzouki-based music.

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