Articles in regional publications that pertain to a wide range of North Carolina-related topics.
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108 results
for "Folk music"
Record #:
35746
Author(s):
Abstract:
In 1958, Mr. Lunsford donated a collection of books on folklore, recordings of folksongs and ballads, scrapbooks, and other manuscripts in honor of his parents.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 25 Issue 1, May 1977,
p28-29
Periodical Website
Subject(s):
Record #:
35747
Author(s):
Abstract:
This discography of folk songs covers several regions of North Carolina, ethnic traditions, and folklore genres. Part one was included in NC Folklore Journal Volume 19, issue 3.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 25 Issue 2, Nov 1977,
p67-74
Periodical Website
Subject(s):
Record #:
35748
Author(s):
Abstract:
An unusual pattern of speech arose on the Outer Banks of North Carolina, namely switching the ‘v’ and ‘w’ sounds at the beginning of words. The authors were given an example of a song that included this phenomenon, “Wictory shall be mine.”
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 25 Issue 2, Nov 1977,
p75-77
Periodical Website
Subject(s):
Record #:
35794
Author(s):
Abstract:
Based on Alan Lomax’s “cantometric analysis” of songs, the author uses that methodology to conduct his own study on Gullah church music on St. Helena’s island.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 26 Issue 3, Nov 1978,
p157-163
Periodical Website
Subject(s):
Record #:
35813
Author(s):
Abstract:
Growing up between Cherokee and Anglo cultures, Manco Sneed learned to play the fiddle at a young age, and became well known for his music playing. Three transcriptions of his tunes are included.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 28 Issue 2, Nov 1980,
p58-66, il, por
Periodical Website
Record #:
35814
Author(s):
Abstract:
This article focuses on the band the Roan Mountain Hilltoppers, in hopes of illustrating some of the more important qualities which characterize old-time music as they play and perceive it, not only in the terms of the music sound and techniques in producing it, but also in terms of the tradition which surrounds it.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 28 Issue 2, Nov 1980,
p67-78
Periodical Website
Subject(s):
Record #:
35816
Author(s):
Abstract:
Following the aftermath of WWI, the waltz and the blues became increasingly important and popular. Southern fiddlers began to incorporate blues elements and tunes into their music, partially in response to increased awareness of blues through recordings and radio, and partially through a growing appreciation of local black blues styles.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 28 Issue 2, Nov 1980,
p79-88
Periodical Website
Subject(s):
Record #:
35842
Author(s):
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 #:
35882
Author(s):
Abstract:
The relationship between blues and gospel can be seen as two sides of the same coin; both blues are for despair, and gospel is for hope, relating to the same subject. The blues-gospel rap is a map for the psychologically unified view of the world. Using this dichotomy of hope-despair, the positions are either the blues are the illegitimate child of the spiritual, or that spiritual understanding is a marriage of hope and despair.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 34 Issue 1, Wntr-Spr 1987,
p38-51
Periodical Website
Subject(s):
Record #:
35885
Author(s):
Abstract:
By comparing multiple copies of The Wife of Bath, the author looks at its literary antecedents and other issues concerning verbal art as actually practiced, not falsely dichotomized.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 35 Issue 1, Winter-Spring 1988,
p40-77
Periodical Website
Subject(s):
Record #:
35888
Author(s):
Abstract:
Teaching her children how to harmonize and encouraging their musical gifts, Landis contributed to musical life in churches, the black community, and the state of North Carolina.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 35 Issue 2, Summer-Fall 1988,
p90-91, por
Periodical Website
Subject(s):
Record #:
35898
Author(s):
Abstract:
A transcription.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 36 Issue 1, Winter-Spring 1989,
p37-59
Periodical Website
Subject(s):
Record #:
35899
Author(s):
Abstract:
Henry was a blues musician who had talent, perseverance, love of the blues, and helped preserve part of North Carolina’s musical heritage.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 36 Issue 2, Summer-Fall 1989,
p67-69
Periodical Website
Subject(s):
Record #:
35901
Author(s):
Abstract:
Folk ballads served their purpose for a time before a large percentage of the general population allowed them to be superseded by more modern amusements. Ballads change over time; typically in the manner they are received.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 37 Issue 1, Winter-Spring 1990,
p13-24
Periodical Website
Subject(s):
Record #:
35903
Author(s):
Abstract:
Hosted by Ray Greene, a weekly event of old-time music features fiddling, bluegrass, swing, Christian music, and more.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 37 Issue 1, Winter-Spring 1990,
p43-57
Periodical Website
Subject(s):