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e-Journal

 

Breaking Down Bluegrass:
The Invention of a Genre from Mountain Ballads to Bill Monroe

(Released September 2011)

 
  by Lorna Dries  

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eLibrary Resources


  1. A print of Bluegrass legend Bill Monroe waits to be hung at the International Bluegrass Music Museum in Owensboro, Kentucky.
    Robert Bruck/Knight-Ridder/Tribune News Service, © 2002.


  2. Grammy nominee Ralph Stanley (L), Ralph Stanley II (R) and the Clinch Mountain Boys perform January 5, 2002 at the Meadowgreen Park Bluegrass Music Hall in Clay City, KY. Nominated for work on the 'O Brother, Where Art Thou?' soundtrack, Stanley plays old-time, mountain style bluegrass music with a clawhammer picking style. The movie soundtrack is nominated for Album of the Year.
    Stringer, G./ Getty Images, © 2002.


  3. Director Jack Tottle, left, and assistant director Raymond McLain head the highly skilled faculty of this unique Bluegrass, Old-time, and Country Music Program.
    Blake Sims/Knight-Ridder/Tribune News Service, © 2003.


  4. Legendary banjo player Earl Scruggs attends the ceremony honoring him with a star on the Hollywood Walk of Fame on February 13, 2003 in Hollywood, California
    Vince Bucci/ Getty Images, Inc., © 2003.
Resources taken from Proquest's eLibrary

Charts and Tables
  1. The American South and Its Cultural Subregions. (Map by Richard Pillsbury, in Ferris and Wilson, eds., Encyclopedia of Southern Culture, © 1989 by University of North Carolina Press, used by permission of publisher) 4. Sequoyah (George Guess), Inventor of the Cherokee Syllabary. He is depicted in early 180Os southern Indian clothing, a mix of native and European elements; note log cabin in background. (Painting by Charles Banks Wilson, originally exhibited at the Oklahoma State Capitol. Used by permission of artist, Oklahoma Arts Council, and Capitol Preservation Commission)

    TRANSPORTED TRADITIONS: TRANSATLANTIC FOUNDATIONS OF SOUTHERN FOLK CULTURE
    Burrison, John A, Studies in the Literary Imagination 36. 2 (Fall 2003): 1-24.
  2. 'Timeline' of the ancestors of 'John Barleycorn'. 'JB' is the proposed original of the song. For other explanations, see text. All arrows are speculative

    John Barleycorn: The Evolution of a Folk-song Family
    Wood, Peter, Folk Music Journal 8. 4 (2004): 438-455.
  3. Comparison of Major Textbook Topics Representing Appalachia

    Representation of Appalachia in North American Geography College Textbooks
    Martis, Kenneth C., The Journal of Geography 104. 2 (Mar/Apr 2005): 85-92.
Tables taken from ProQuest Central
Scholars
  1. Ronald Allen Pen
    Director, John Jacob Niles Center for American Music, School of Music, University of Kentucky, 1997 - Current
    http://www.uky.edu/FineArts/Music/faculty/ron_pen/
    My expertise is in vernacular musical traditions, particularly those of the southern Appalachian region; active research includes work on folk music collections, shape note hymnody, and fiddle tunes.

  2. Matt Glaser
    Chair, String Department, Berklee College of Music
    http://www.berklee.edu/faculty/detail/matt-glaser
    Specializes in helping string players develop improvisational skills in jazz and folk idioms

  3. Thomas B. Payne
    Associate Professor, Department of Music, College of William and Mary
    http://www.wm.edu/as/music/directory/payne_t.php
    Payne's professional interests include: Medieval, Renaissance, and Baroque music; J.S. Bach; and modern musical minimalism, especially the compositions of Steve Reich. In a more informal vein he is an acoustic guitarist who is fascinated by Anglo-American folk music, Bluegrass, folk-style acoustic guitarists (whose music he plays), and so-called "Classic Rock" from circa 1960-1975.

Scholars taken from ProQuest's Community of Scholars