Articles in regional publications that pertain to a wide range of North Carolina-related topics.
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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 #:
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Folk ballads served their purpose for a time before a large percentage of the general population allowed them to be superseded by more modern amusements.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 #:
35973
Author(s):
Abstract:
While orality and literacy is not the only dialectic involved in producing changes to oral tradition, the author applied the interdependence of orality and literacy to the transmission of ballads to a family in Madison County.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 42 Issue 1, Wntr/Spr 1995,
p1-34, il, bibl
Periodical Website
Subject(s):
Record #:
36333
Author(s):
Abstract:
A song about a frog riding on the back of a raccoon to various places was well known in some areas of South Carolina. The author learned the song as a small child, but did not know the history and variations of the song until much later. When she was in college, she collected several variations of the song, which all followed the same general story line.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 48 Issue 1-2, 2001,
p69-79
Periodical Website
Subject(s):
Record #:
36534
Author(s):
Abstract:
A transcribed interview between the authors talking about the life of Karen Baldwin. A song sung in her honor is also transcribed.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 55 Issue 2, Fall-Winter 2008,
p14-21
Periodical Website
Subject(s):
Record #:
36537
Author(s):
Abstract:
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
Subject(s):
Record #:
36539
Author(s):
Abstract:
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./
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 56 Issue 1, Spring-Summer 2009,
p10-20
Periodical Website
Subject(s):
Record #:
36540
Author(s):
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
Subject(s):
Record #:
36541
Author(s):
Abstract:
Edith Walker was a frequent informant for Abrams’s collection of over 400 folksongs. A brief description of her life is outlined in the article.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 56 Issue 1, Spring-Summer 2009,
p33-40
Periodical Website
Subject(s):
Record #:
39471
Author(s):
Abstract:
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.
Source:
North Carolina Folklore Journal
(NoCar GR 110 N8 N6), Vol. 61.1 Issue 2, Spring and Summer 2014,
p72-78
Periodical Website
Subject(s):