By Gregory Hansen
This biography of 97-year-old Richard Seaman, who grew up in Kissimmee Park, Florida, is determined by oral heritage and folklore study to outline where of musicianship and storytelling within the state's background from one artist's standpoint. Gregory Hansen offers Seaman's evaluate of Florida's altering cultural panorama via his tall stories, own event narratives, legends, mess around song repertory, and outlines of day-by-day life.
Seaman's formative years stories of fiddling performances and rural dances clarify the position such gatherings performed in development and holding social order in the group. As an grownup, Seaman moved to Jacksonville, Florida, the place he labored as a machinist and played together with his kinfolk band. The evolution of his musical repertory from the early Twenties throughout the Nineteen Fifties offers a source for reconstructing social lifestyles within the rural south and for knowing how alterations in musical type replicate the state's more and more city social constitution. Hansen incorporates a set of Seaman's mess around tunes, transcribed for the advantage of performer and researcher alike. The thirty tall stories integrated within the quantity represent a consultant pattern of Florida’s oral culture within the early years of the twentieth century.
Read Online or Download A Florida Fiddler: The Life and Times of Richard Seaman PDF
Similar musical genres books
American renowned track displays a wealthy cultural variety. From Aaron Copland to Miles Davis to Elvis Presley to Muddy Waters, the USA has produced essentially the most influential and loved musicians and performers of the twentieth century. The blues, jazz, and rock and roll - musical genres enjoyed around the globe - have been born the following, and American composers, manufacturers, singers, and songwriters have crafted a special history in different genres equivalent to classical and folks.
James Grier records the musical actions of Adémar de Chabannes, eleventh-century monk, historian, homilist and tireless polemicist for the apostolic prestige of Saint Martial, consumer saint of the abbey that bore his identify in Limoges. Adémar left at the back of a few 451 folios of tune with notation in his autograph hand, a musical source the ultimate ahead of the 17th century.
Within the Nineteen Fifties, manhattan City's Birdland used to be the heart of the realm of contemporary jazz--and a revelation to invoice Crow, a wet-behind-the-ears twenty-two-year-old from Washington kingdom. situated on Broadway among 52nd and 53rd streets, the membership named for the incomparable Charlie "Bird" Parker boasted lifesize picture work of art of contemporary jazzmen like Dizzy Gillespie, Lennie Tristano, and, after all, chicken himself, looming huge opposed to jet black partitions.
Subversive Sounds probes New Orleans’s background, uncovering an online of racial interconnections and animosities that was once instrumental to the construction of an important American paintings form—jazz. Drawing on oral histories, police reviews, newspaper debts, and classic recordings, Charles Hersch brings to bright lifestyles the neighborhoods and nightspots the place jazz used to be born.
- Apostles of Rock: The Splintered World of Contemporary Christian Music
- Hymns to the Silence: Inside the Words and Music of Van Morrison
- Testimony: The Memoirs of Dmitri Shostakovich
- Fiddling in West Africa: Touching the Spirit in Fulbe, Hausa, and Dagbamba Cultures
- This Is Our Music: Free Jazz, the Sixties, and American Culture
Additional info for A Florida Fiddler: The Life and Times of Richard Seaman
13 Richard notes that although there were good players in the area, he evaluates much of the musicianship as substandard. “Some of them couldn’t hardly carry a tune. One old man used to sit down and play, and he’d get in that 26 chapter 2 You are reading copyrighted material published by the University of Alabama Press. S. Copyright law is illegal and injures the author and publisher. For permission to reuse this work, contact the University of Alabama Press. key of A. And he never changed. He’d get in A, and he’d just keep that beat.
So there wasn’t much to do but work. My Dad took care of a seventy-¤ve-acre orange grove for a man by the name of McCool. William McCool, from Beaver Falls, Pennsylvania, he owned that land. And they would come down there in the wintertime and hunt. It was good hunting and ¤shing around on that lake and them swamps down there. And that was the only outlet we had—other than taking care of the orange grove and working for Old Man McCool. That’s what we had to do, and when I got big enough, I had to get out there and help with them.
They didn’t have any music, but they’d dance anyhow. ” The dance was entertainment. Fiddlers accompanied the dancers as they cut the ¤gures at the command of the caller. In Richard’s view, playing the ¤ddle was akin to tending a machine that set people to dancing, for in Kissimmee Park, ¤ddlers were musicians because they could make music. His own ideas about ¤ddling are close to how he regards members of his home community’s assessment of this perspective on musicianship. Fiddlers are not necessarily endowed with special gifts that set them apart from other people, and musicianship is a skilled craft that can be learned with practice and perseverance.