Articles in regional publications that pertain to a wide range of North Carolina-related topics.
Search Results
34 results
for Music
Record #:
27878
Author(s):
Abstract:
North Carolina residents gather at the weekly Picking & Grinning at Schley Grange Hall outside Hillsborough. The two-hour gathering has been going on for ten years and brings residents together to hear, sing, and play gospel and country music. The gatherings sometimes have as many as two hundred attend and all are invited to participate. The sessions are important to members of the community, especially older individuals and celebrate their musical heritage.
Source:
Independent Weekly
(NoCar Oversize AP 2 .I57 [volumes 13 - 23 on microfilm]), Vol. 27 Issue 10, March 2010,
p22-23
Periodical Website
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2.Can’t Get There From Here by Currin, Grayson Haver Independent Weekly Vol. 25 Issue 10, March 2008
Record #:
28119
Author(s):
Abstract:
A Triangle area music expert discusses how a regional mass transit system would improve the area’s music scene. Concert goers and musicians tend to not go to events outside their own cities or town’s because the traffic in the area makes trips inconvenient. With a better transit system, musicians and listeners would go to more concerts and collaborate more, allowing the area music scene to grow.
Source:
Independent Weekly
(NoCar Oversize AP 2 .I57 [volumes 13 - 23 on microfilm]), Vol. 25 Issue 10, March 2008,
p19
Periodical Website
Record #:
28196
Author(s):
Abstract:
Wilmington’s bustling economy and prosperous port in the colonial and antebellum periods made it accessible for artists seeking a comfortable living in the city. Several venues in Wilmington became a location for guest lecturers to utilize, while also well-known musicians such as Ole Bull and Maurice Strakosch.
Source:
Lower Cape Fear Historical Society Bulletin
(NoCar F 262 C2 L6x), Vol. 4 Issue 2, Feb 1961,
p3-6, il
Subject(s):
Record #:
29005
Author(s):
Abstract:
Theft, a new comic book by two Duke University law professors, examines the history of theft in music. The comic is mostly concerned with the way musicians have borrowed from, emulated, and sampled one another; and how attempts at musical control, in history and modern times, are really attempts at social control.
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Full Text:
Record #:
29096
Author(s):
Abstract:
Beach music, as it's known in North and South Carolina, has history stemming from doo-wop, soul, and rhythm and blues of the 1950s and 1960s. Carolina beach music has a distinct style known as tropical rock, which is meant for people to dance and be social. It’s specific kind of dance, called the Carolina Shag, is the official state dance of North Carolina.
Source:
Indy Week
(NoCar Oversize AP 2 .I57), Vol. 34 Issue 26, July 2017,
p14-15, il, por
Periodical Website
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Full Text:
Record #:
29097
Author(s):
Abstract:
Rang Rajaram started DISHOOM in Durham four years ago, bringing Bollywood-inspired music and Indian culture to the local dance-party scene. Parties happen about four times per year, offering bhangra dance lessons, psychedelic visuals, and re-mixed music to a crowd of over four-hundred people.
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Full Text:
Record #:
29600
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Abstract:
In the 1960s, garage bands sprang up in North Carolina and across the country. The garage band scene was particularly prominent in Asheville, where rock musicians formed bands, and played in Battle of the Bands competitions. Some of these bands included The Fabulous Wunz, The Ron-De-Voos, and The Satyrs.
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Record #:
35842
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Abstract:
When North Carolina was still being settled by colonists, settlers in the mountain region used odd character notation for sight reading of music in Appalachia. These ‘shaped notes’ indicated the tone by their unique shape, whether written alone or placed on the lines and spaces of a musical staff.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 32 Issue 2, Fall-Winter 1984,
p82-90
Periodical Website
Subject(s):
Record #:
36361
Author(s):
Abstract:
In historically African American colleges and universities, the marching bands are immensely popular with spectators. The bands combine music, drilling, dance, showmanship, and pageantry in a way that speaks to the values and aesthetics of African American culture.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 50 Issue 1-2, Fall-Winter 2003,
p19-47
Periodical Website
Subject(s):
Record #:
36516
Author(s):
Abstract:
The Music Maker Relief Foundation (MMRF) has been helping musicians preserve Southern traditions that most of them learned to play by simply listening. It focuses on musician sustenance, musical development, and cultural access.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 54 Issue 2, Fall-Winter 2007,
p26-28
Periodical Website
Subject(s):
Record #:
36547
Author(s):
Abstract:
William Ferris recorded African American blues music in Mississippi, but also ended up collecting interviews, photographs, and film. Through his research, Ferris wrote a book from the perspective of two renowned blues musicians, and explores the sacred and secular worlds of the blues. The book is divided into four sections: Blues Roots, Blues Towns and Cities, Looking Back, and Sacred and Secular Worlds.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 57 Issue 2, Fall/Winter 2010,
p60-65
Periodical Website
Subject(s):
Record #:
36856
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Abstract:
Chatterly is a documentary photographer, the subjects of his pictures jazz and blues musicians. Many projects hace developed beyod his original designs into richer, fuller collections because of his interest in people’s lives.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 59 Issue 1, Spring-Summer 2012,
p18-21
Periodical Website
Subject(s):
Record #:
36970
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Abstract:
A self-proclaimed public folklorist, Duffy started the Music Maker organization to help authentic folk musicians.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 63 Issue 1-2, 2016,
p8-12
Periodical Website
Subject(s):
Record #:
36974
Author(s):
Abstract:
Joos study on vernacular architecture of shotgun houses is influenced by history, sociology, and domesticity; he approaches the subjects in a multidisciplinary way. He uses ethnography, engineering, geography, and folklore to understand the needs and desires of the community after natural disasters.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 63 Issue 1-2, 2016,
p17-21
Periodical Website
Subject(s):
Record #:
37024
Author(s):
Abstract:
With voices soaring heavenward, the author asserts choirs resemble what awaits the faithful on both sides of the pew. As for the choir’s role, Kelly posits it is can greatly influence the quality of life—church life now and life hereafter.
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