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Download Reds, Whites, and Blues: Social Movements, Folk Music, and by William G. Roy PDF

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By William G. Roy

Tune, and folks tune specifically, is usually embraced as a kind of political expression, a motor vehicle for bridging or reinforcing social barriers, and a worthy device for routine reconfiguring the social panorama. Reds, Whites, and Blues examines the political strength of folks tune, now not during the which means of its lyrics, yet in the course of the concrete social actions that make up hobbies. Drawing from wealthy archival fabric, William Roy indicates that the People's Songs move of the Nineteen Thirties and 40s, and the Civil Rights flow of the Fifties and 60s carried out people music's social relationships--specifically among those that sang and those that listened--in other ways, reaching various results. Roy explores how the People's Songsters predicted uniting humans in tune, yet made little headway past leftist activists. by contrast, the Civil Rights stream effectively built-in track into collective motion, and used song at the wood traces, at sit-ins, on freedom rides, and in jails. Roy considers how the movement's Freedom Songs by no means won advertisement luck, but contributed to the broader achievements of the Civil Rights fight. Roy additionally strains the heritage of people track, revealing the advanced debates surrounding who or what certified as "folk" and the way the music's prestige as racially inclusive used to be no longer continuously a given. interpreting people music's galvanizing and unifying energy, Reds, Whites, and Blues casts new mild at the courting among cultural varieties and social task.

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Extra resources for Reds, Whites, and Blues: Social Movements, Folk Music, and Race in the United States (Princeton Studies in Cultural Sociology)

Sample text

Precommunicative interaction is especially clear in nonverbal interaction such as team sports, dancing, walking on a busy sidewalk, making love, and doing music. “Tuning in” thus underlies the relationship in specific dimensions of time (Schutz 1964). By this logic music is not a non-social activity in social context but is context in and of itself (A. Seeger 2004). Just as turn taking, repairing interruptions, and the mutual reinforcement of grammatical rules make conversation pos- 16 • Chapter One sible, music is based on synchronized interaction and organization of sound.

From the initial fusion of African and European music under slavery to the reconfiguration of those two lineages in spirituals and minstrelsy to the attempts to purify African influences out of “truly American” music, the history of vernacular music in this country has been pervaded by race. Music and Boundaries • 33 Slavery During the antebellum period, musical strains from Africa and Europe were fused in several southern institutions. Slave owners used slaves to entertain at dances and parlor socials.

The music that people perform and listen to, the way that they perform and listen, the meanings they attach to music and the contexts in which they do music are often signs that mark people as members of groups and that create or reinforce those distinctions. Anthony Seeger 18 • Chapter One explains that for the Suyá of Brazil, music gives the individual identity, constitutes social relationships of village, and “re-creates, re-establishes, or alters the significance of singing and also of the persons, times, places, and audiences involved.

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