A Comparison OfHouse Of The Rising Sun?

Hank Snow was a popular and important musical artist, active before 1960, who is not included in the Dalhousie University 2017 - 2018 Popular Music until 1960 course. Hank Snow’s, “country standard I’m Movin’ On, a twelve-bar blues, came out before 1960. ” In this paper I will argue that Hank Snow and his song I’m Movin’ On must be a required listening in this course as he has had historical significance, has influenced musical artists (several that are covered in this course) and most importantly he is a Nova Scotia native with a successful musical country career on an international scale. I will provide relevant background information on Hank Snow as well as proof of his importance in the areas of historical significance, musical influence

“Snow was a skilled songwriter and a very capable guitarist. Particularly in his “rhumba boogie” songs, he was also a witty and inventive lyricist (“While Madame Lasonga was teaching La Conga/ In her little cabana in old Havana/We were doin' the Charleston and Ballin' the Jack/ And then that old Black Bottom ‘til they started the Jitterbug Rag”). Nova Scotia’s south shore kitchen party music has similar dialogue or rhyming with versus that are made up as they are sung. Snow used his life struggles from a small fishing and forest town to write relatable songs with unique South Shore dialect, maritime-character, basic strum picking guitar style to become a legendary musician, songwriter, singer and international entertainer. The Canadian, Hank Snow, rose from an impoverished background and against odds made an impression on music history.

“When first entering in America, British folk music was distinguished by three-chord tunes, sparse instrumentation (with some fiddlers), mostly male performers, improvisation, the singers’ sporadic shouts (Scottish “yips”), Christian themes served up in hundreds of hymns, and a secular collection of songs that told stories, generally about love and lost love, using metaphor and symbol to tell those stories” (Allen 101). By the late nineteenth and early twentieth centuries, British music changed and became Americanized. Vocal harmonizing slowly evolved, and fiddlers were accompanied by those who played banjo, an African American opening. “Tambourines and “bones” (tapping out rhythms using pork rib bones) were a minstrel show contribution” (Allen 102). When African Americans were forced into slavery and brought to North America in the 1600s, they brought their own musical traditions and sounds. Slaves who were on the Mississippi River Valley delta soil developed what will later be introduced as blues music. On the plantations, slaves greatly changed British American hymn singing. They took non-religious British American songs and turned it into their own forms of music that followed their culture and taste of music. Blues emerged in the early twentieth century at the same time country music became settled from its folk roots. Blues music talked about the indifferences African American slaves were going through at that time. “The blues voiced human

For this music analysis project, I would like to discuss the oral nature of the legacy of Appalachian music. I would like to complete this project to bring attention to the amazing history of Appalachian music and the distinct ways it lives on. I plan to use research to study the different manners in which Appalachian music has continued to survive throughout the years despite the general modernization of the world.

The 1930’s was a decade of extremely hard times, following the stock market crash and an extreme depression. In spite of the tremendous hardships in America during this decade, it also became a time of great music that is still remembered today. Jazz music was highly popular in this time, and Billie Holiday was a famous jazz performer. She stood out from many other musicians because of her intense and passionate performances. Jazz arose from “unacceptable” segments of society, but quickly grew like wildfire. We often think of the 1930’s as the decade that jazz became civilized, and famous throughout popular culture through the work of pioneering artists like Billie Holiday. People did not own televisions or cable, so radio was their main source of entertainment, and music during this decade was both up beat and a source of relaxation. “Strange Fruit” defied musical category because it was considered too artsy to be folk, and too explicitly political to fit into jazz. This is why “Strange Fruit” became such a powerful phenomenon. Many other artists later took on this song, changing the genre but still portraying the same message. Nina Simone dramatized “Strange Fruit” in the context of the Civil Rights Movement. More important artists like Jeff Buckley, Rene Marie, Labor Camp Orchestra, and many others made their own rendition on the song, still leaving all of their audiences moved by the powerful imagery of the lyrics.

Killing the Rising Sun by Bill O’Reilly and Martin Dugard is a descriptive, well written book wrapping up the end of World War II. Reading this book makes you feel like you are living in the midst of the vividly depictive and picturesque scenes that O’Reilly and Dugard bring the reader back to imagine in this book. I really enjoyed this book and I think it really helped me to capture what happened during World War II and the hardships and trials that the United States went through to defeat Japan in one of the most decisive naval battles of World War II. I hope that in this essay I can achieve half of what the authors achieved in writing this book.

The folk genre has origins all the way back to the 19th century, which in many ways is mirrored by many popular genres in modern musical genres. To make it easy folk music is merely, “ballads and songs which are composed and conveyed vocally, without being written.”(Mclean 12) Though what we distinguish ‘folk’ today as stylistically very different to what ‘folk’ was during the 19th century, at its basic form, it still holds the same standards and concepts, describing the simpler times. Through vigorous research, it’s hard to overlook the past and expansion of folk music originating from the south, and how it could help understand the significance for observing and expanding the dynamics of southern race relationships. Equally, race

If an artist lacks determination and vigor, it is hard for them to keep performing in front of audiences that are familiar with watching and listening to white country performers. Ultimately, many African Americans steer away from the country genre because they do not want to get discriminated against for not fitting the typical stereotype associated with being a country artist. All three artists embody the traits of what it means to be a true Negro artist. In Langston Hughes’s short

According to Michael Rose, “Music plays an integral role in the life of Native Americans. It is used for ceremonial purposes, recreation, expression, and healing.” Present societies have become blind and unable to understand the spiritual roles our lives play within and from our own existences. As we are to stay blind, we are never to understand the true beauty and meaning the Southern Plains American Indian’s music brings. As we listen, we can only hope of understanding the dynamics of the native people’s culture through its selected art

With that of culture comes our identity through music. The “death of the blues” serves as an example in how culture is put up to the challenge of change. Melody, Chinatown, and Big Mat represent “the loss of folk culture which accompanied the Great Migration of Black people from the rural South to the industrial North” (Waldron 58). As we begin to read, we are able to interpret their lives and identity in the South through Melody’s music. This

Since the creation of the genre in the late seventeenth century, patriotic music has told the stories behind many of the songs that have now become part of the American national heritage. Since the creation of the genre in the late seventeenth century, patriotic music has told the stories behind many of the songs that have now become part of the American national heritage. Since the creation of the genre in the late seventeenth century, patriotic music has told the stories behind many of the songs that have now become part of the American national heritage.

Folk music was shaped and influenced by segregation during the Great Depression between blacks and whites, which led to divergent forms of African-American folk music in isolated towns where black music could evolve from its African origins. Even before the Great Depression, earlier African American music styles have influenced the folk music of southern Appalachia. The banjo is one of the most important musical instruments playing in Appalachia folk music, and it is a little known fact that this instrument was introduced by African Americans, as well as African work songs and chants to this region.1 This paper will address how segregation between blacks and whites have influenced folk music, if at all, and if racial tensions

The folk singer Josh Tillman exemplifies the power of culture on the cultivation of an artist. Exploring the persona and myth of his alter ego, Father John Misty, I recognize Raymond Williams’ established parallels to his three definitions of culture. This essay outlines how Williams’ theory of the ideal, the documentary, and the social, correlate with Tillman’s expression of music through his ideas, values, and experience, which define his albums and achieve what he perceives as perfectionism. In addition, I examine the historical and societal influences behind his material, and how his image and aesthetic impact his audience.

The 1920’s was a great time for African American pride in their culture though High Art or Folk Art. Folk Art during the Harlem Renaissance best expresses Racial Pride through celebrated black culture, celebrates black speech, and celebrates common man. High Art having lofty imagery, elevated language, and mastery of European poetic forms. First, Folk Art celebrates black culture because African Americans in 1920’s created The Blues, a type of genre of song that shows the struggle of African Americans in the 1920’s. For example, Langston Hughes in 1927 wrote “Homesick Blues” and “Po’ Boy Blues” showing that moving north was a struggle, how they wanted to go home, and how poor they were.

     In Ernest Hemingway’s The Sun Also Rises, Jake Barnes is a lost man who wastes his life on drinking. Towards the beginning of the book Robert Cohn asks Jake, “Don’t you ever get the feeling that all your life is going by and you’re not taking advantage of it? Do you realize that you’ve lived nearly half the time you have to live already?” Jake weakly answers, “Yes, every once in a while.” The book focuses on the dissolution of the post-war generation and how they cannot find their place in life. Jake is an example of a person who had the freedom to choose his place but chose poorly.