Articles in regional publications that pertain to a wide range of North Carolina-related topics.
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108 results
for "Folk music"
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Record #:
41284
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Abstract:
It was a dynamic decade, due to social and cultural forces encouraging progress and protest. The author observed that progress and protest were particularly manifest in higher education, government, sports, and entertainment.
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Civil rights movement; Community colleges--North Carolina--history ; Charlotte Motor Speedway; Woolworth's 1960 sit in--University of North Carolina Greensboro; Klu Klux Klan--North Carolina ; North Carolina Arts Council; Folk music; Scott, William Kerr, 1896-1958; Hodges, Luther Hartwell, 1898-1974; Cape Lookout National Seashore
Record #:
28964
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Dom Flemons, Kaia Kater, and Jerron “Blind Boy” Paxton are among a handful of people of color who are asserting their rightful place in folk, bluegrass, and old-time music. The three musicians recognize the centuries-long impact of racial discrimination in music. Their performance in Raleigh will spotlight the African roots of the banjo, and feature music and songs which use rhetoric as a way to break barriers and open minds.
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Record #:
29010
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David Holt, a folk musician from Alamance County, North Carolina, plays the banjo, slide guitar, and bones. The bones are the actual rib bones from a cow, and an ancient rhythm instrument. History and context are important to Holt, as his music is a form of storytelling.
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Record #:
39661
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Leroy Smith began making a name for himself in the bluegrass music scene in the mid-1960s and has continued to perform and compose music since then.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 64 Issue 1 & 2, 2017,
p25-27
Periodical Website
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Record #:
36970
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A self-proclaimed public folklorist, Duffy started the Music Maker organization to help authentic folk musicians.
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North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 63 Issue 1-2, 2016,
p8-12
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Record #:
24045
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Rhiannon Giddens is both a solo artist and a member of the Carolina Chocolate Drops folk band. Her North Carolina roots, professional training, and a variety of genres influence her music.
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Record #:
27742
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NC State junior Clint Bowman recently created a nonprofit to promote North Carolina folk artists to new, young audiences. The concept is to use a small series of concerts to expose artists without a label to new fans. The 20-year old began the project as an assignment for an arts entrepreneur class and made the nonprofit a reality during his summer break. Bowman hopes to expand the project over time.
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Record #:
39471
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The folksong “Barbara Allen” has been documented since the 17th century, but mostly likely originated well before that. The author learned it from his mother, who learned it from her father, who sang it for his children. The song has several variations, but also has three principal melodied to which it is sung or played. The lyrics to the song are transcribed as sung by John Underwood.
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North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 61.1 Issue 2, Spring and Summer 2014,
p72-78
Periodical Website
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Record #:
38263
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Abstract:
The Old North State was on the mind of a nineteen year old songwriter, who penned “Carolina On My Mind” as tribute to his home state. As the author illustrates, this state’s lifeways and the more famous re-recording of the song is on the minds of many citizens other than James Taylor.
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Record #:
20923
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Alice Gerrard, now in her 70s, has spent a lifetime documenting, learning about, and performing traditional American music. Not a native of North Carolina, she took up residence here in 1989. However, even before that she had come here countless times to seek out the musicians who had inspired her for decades. Gerrard received a 2010 Brown-Hudson Folklore Award for her devoted promotion and advocacy of traditional American music.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 57 Issue 2, Fall/Win 2010,
p13-18, il, por
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Record #:
36539
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Although Greer was not a traditional folklorist, he contributed greatly to the continuing knowledge of Western North Carolina balladry. He both collected and sang ballads from around the state, along with passing on those he had collected to the /Frank C. Brown Collection of North Carolina Folklore./
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North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 56 Issue 1, Spring-Summer 2009,
p10-20
Periodical Website
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Record #:
36540
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Abstract:
Gladys Kincaid was murdered in Morganton, NC in 1927, inspiring several ballads to be written about the event. Only one of the three recorded ballads has an author and it was composed about a month after the murder. An account of the murder, manhunt, and effects of the event are described.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 56 Issue 1, Spring-Summer 2009,
p21-32
Periodical Website
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Record #:
23661
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Olive Dame Campbell was a teacher in the 20th century who worked to record and preserve the songs of Appalachian culture.
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Record #:
36537
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W. Amos Abrams, folklorist and noted contributor to the NCFJ, became interested in folk ballads when he studied under Frank C. Brown at Duke University. He continued his study and collection of ballads throughout his long career as a folklorist.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 55 Issue 2, Fall-Winter 2008,
p65-73
Periodical Website
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Record #:
28358
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Abstract:
North Carolina’s musicians who play a modern version of traditional music are top sellers nationwide this year. The music’s timeless quality and enduring appeal is a reminder to listeners of their personal connections with music. This music connects families and multiple generations and the universities in the state frequently fund study of folk and bluegrass music. Finally, the state’s reputation for producing quality traditional music and the high likelihood that it will be heard anywhere people go contributes to the music’s recent and lasting success.
Source:
Independent Weekly
(NoCar Oversize AP 2 .I57 [volumes 13 - 23 on microfilm]), Vol. 24 Issue 51, December 2007,
p36-37
Periodical Website
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