Download A Florida Fiddler: The Life and Times of Richard Seaman by Gregory Hansen PDF

By Gregory Hansen

A musical existence as wonderful metaphor for Florida's cultural landscape.

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.

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Additional info for A Florida Fiddler: The Life and Times of Richard Seaman

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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.

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