, La folk music à la Maison Blanche : Un outil de communication politique et diplomatique, p.327, 1933.
, Les niches institutionnelles des collectes du New Deal (1936-1941)????????..340 III.1. L'Archive of American Folk Song?????????????????, p.341
, New Deal : flou et bricolages administratifs???????345 III.2.1. Le projet folk de la Resettlement Administration (1936-1937)??..346 III.2.2. Les projets folk de la WPA????????????????, p.353
, La folk music dans le Federal Theatre Project de la WPA???, p.355
, La folk music dans le Federal Music Project de la WPA????, vol.358
, La folk music dans le Federal Writer's Project de la WPA???, p.360
, Committee on Folk Art de la WPA?????????.362 Research and Records Project de la WPA?????????, p.369
, Remaniement et fin de la WPA??????????????, p.370
, L'ethnomusicologue Richard Graham montre quant à lui l'usage par les populations euro-américaines des Appalaches de l'arc à bouche, For Gerhard Kubik: Festschrift on the Occasion of His 60th Birthday, vol.23, 1995.
, Segregating Sound, op
, African Banjo Echoes in Appalachia
, Entre 1885 et 1905, les presbytériens fondent par exemple soixante-cinq écoles dans le Sud des Appalaches, J.S. Becker, Selling Tradition, p.65
, , 1933.
, Danse masculine de groupe au bâton ou à l'épée devenue emblématique de l'Angleterre rurale
, Folk Songs From Somerset Gathered and Edited with Pianoforte Accompaniment, 1904.
, « The collection and preservation of our folk-music, whatever else it has done, has at least restored the Englishman's confidence in the inherent ability of his nation to produce great music, One Hundred English Folksongs, 1916.
, « because of their simplicity and naïveté must appeal particularly to the young, Folk-songs and other Songs for Children, 1902.
, « music that is simple and child-like in its appeal
, Music and Life, op. cit
, Nous étudierons tout particulièrement cet ouvrage de synthèse : T.W. Surette, Music and Life
, Special Collections, pp.1889-1938
, , pp.p. xiii-xvi
, Pour une discussion sur la collection de Lomax comme source pour les cowboy chantants cf : chapitre 5, sous-partie I, p.109, 2000.
, Cf : chapitre 2, sous-partie I, Talking Machine World, p.79, 0193.
, Ce qui, dans le cas des Cowboy Songs de Lomax, est bien évidemment faux
, Segregating Sound, op
, Categorizing Sound, p.119
DOI : 10.1525/california/9780520248717.001.0001
, « Records of Old-time Songs in Great Demand », Talking Machine World, p.94, 1924.
, Optimism Reigns in Dallas as Surveys Show Texas in an Enviable Position », Talking Machine World, p.136, 1924.
,
, American Ballads and Folk Songs, p.p. xxvii, 1934.
, Cf : Chapitre 3, sous-partie III pour une discussion sur l'exclusion des Negro Folk Music profanes
, Cf : chapitre 3, sous-partie I pour l'adhésion de John Lomax à une représentation communaliste de la folk music
, Sinful Songs' of the Southern Negro, The Musical Quarterly, vol.20, p.181, 1934.
, Romancing the Folk: Public Memory & American Roots Music, vol.105, p.416, 1992.
, « They are « sinful songs », songs that definitely connect them with their former barbaric life, p.183
, American Ballads and Folk Songs, pp.xxx-xxxi
, An American Classic », American Memory Project, Library of Congress
, Times Ain't Like They Used to Be: Early American Rural & Popular Music, from Rare Original Film Masters, 1928.
, Consulté le 6 avril 2016 ; Folk Music in the Roosevelt White House: A Commemorative Program Presented by the Office of Folklife Programs at the National Museum of American History, Music at the White House: A History of the American Spirit, 1982.
, « Facts & Figures: FDR », FDR Presidential Library & Museum
, The Fonction of a Folk Festival, Southern Folklore Quarterly, vol.1, 1937.
, We must learn to discriminate between the cheap « hill billy » type and that which has true musical or lierary worth. », cité d'après D.E. Whisnant, All That Is Native and Fine: The Politics of Culture in an American Region, p.228, 1995.
, Feasts of Unnaming : Folk Festivals and the Representation of Folklife, The 1987 Smithsonian Festival of American Folklife: An Ethnography of Participant Experience, 1988.
, , 1933.
, « songs of the down-and-out classes, vol.28, p.3, 1915.
, Hillbilly: A Cultural History of an American Icon, Cf: Chapitre, vol.3, 2004.
, All That Is Native and Fine, op. cit, p.207
, Arthurdale, dans la sous-partie II de ce chapitre sur la folk music à la Maison Blanche
, Rapport de Charles Seeger à Adrian Dornbush, 17 septembre 1936, Resettlement Administration Recordings Collections, Box 1 of 1, American Folklife Center, et Rhyn) et remplacés par des personnes ayant des compétences dans le domaine de la folk music : les collecteurs et musiciens, p.112
, une machine enregistreuse se situe entre 250 et 350 dollars en fonction du modèle
, La production d'un exemplaire coûte 2,75 cents, quelques milliers d'exemplaires sont publiés, vol.6
, Reminiscences of an American Musicologist Oral History Transcript, op. cit, pp.255-256
, , p.195
, for one Garwick Electrograph », US Farm Security Administration, Social Skills Division, Music Unit, 1936.
, Les sponsors inclus le Latter-Day Saints Mutual Improvement Association, le Temple Beth Israel and Jewish Visitors Club et la, p.47
, « to introduce Americans to their own rich culture, Federal Relief Administration and the Arts
, Des guides touristiques pour le peuple et par le peuple. Le Federal Writers' Project et l'invention d'une culture folklorique américaine (1935-1941) », Transatlantica. Revue d'études américaines, The WPA Guides: Mapping America, 1999.
, Drawing on America's Past : Folk Art, Modernism, and the Index of American Design, Catalog of an exhibition organized by the National Gallery of Art, 2002.
, essai pour un projet de rapport du FAP de 1937 finalement publié comme Art for the Millions: Essays from the 1930s by Artists and Administrators of the WPA Federal Art Project, pp.167-169, 1936.
, Synthetic Media and Modern Painting: A Case Study in the Sociology of Innovation, thèse de doctorat soutenue à l'Université de Montreal en 1996, pp.90-92
, Selling Tradition : Appalachia and the Construction of an American Folk, pp.115-118, 1930.
, A Resettlement Administration Song Sheet, JEMF Quarterly, vol.11, issue.2, pp.80-87, 1975.
, Passports to Change : The Resettlement Administration's Folk Song Sheet Program, Musicians and Mountaineers : The Resettlement Administration's Music Program in Appalachia, vol.7, pp.1936-1937, 1979.
, Bureau of Indian Affairs) est la première agence fédérale à expérimenter des projets d'ingénierie sociale et d'intervention culturelle. Cf : Chapitre 1, sous-partie II
, Office of Indian Affairs, Social Plays, Games, Marches, Old Folk Dances and Rhythmic Movements : For Use in Indian Schools, 1911.
, « Passports to change, p.238
, Cf : Chapitre 2, sous-partie IV et Chapitre 4, sous-partie II
, « political or religious prejudices
, « In one colony, where many homesteaders haven't much as beds, several of them possessed mandoline, guitars or fiddles
, Music Manual, Special Services Section, Resettlement Division, Resettlement Administration, 1937.
, General Considerations for Music Directors in Leading Community Programs. », op. cit
, il indique aux musiciens se trouve aussi bien le recueil de John Lomax Cowboy Songs and Other Frontier Ballads (1910) qu'un recueil d'hymnes arrangés par Bach
, Cf : Chapitre 2, sous-partie IV
, Elle est surtout l'auteure d'un ouvrage à grand succès d'appréciation musicale publié par le label Victor au début du XXe siècle, Music Educator for the Homemakers of America, vol.19, pp.1877-1948, 2007.
, Farm Security Administration, Special Skills Division, Music Unit, 1936.
, « No type of folk music which is native to America is of greater interest than the songs of the cowboys, A Century of Progress in American Song, 1933.
, Cf : Chapitre II, sous-partie IV et Chapitre 3, sous-partie III
, Farm Security Administration, Special Skills Division, Music Unit, 1936.
, Farm Security Administration, Special Skills Division, Music Unit
, Lady on Wheels, vol.19
, Farm Security Administration, Special Skills Division, Music Unit, 1937.
, Cf : Chapitre, vol.5
, Drama Scholar Fletcher Collins Dies, Washington Post, vol.12, issue.2005, 2018.
, 1 er avril 1936, The Robert C. Binkley Papers
, Pour les détails concernant l'itinéraire de l'expédition, cf : annexe I.iii.d. « Carte réalisée par S. Robertson à l'issue de la campagne en Caroline du, Report on Two Weeks' Trip to North Carolina, 1936.
, « To get training and experience in running the recording machine and in the rough-and-tumble of folksong collecting under the wing of a veteran in the field, John A. Lomax » / « what I had been led to believe were difficult and strange folk : the mountain people
, Sur Brown, cf : chapitre 2, sous-partie III
, Report on Two Weeks' Trip to North Carolina, 1936.
, Report on Two Weeks' Trip to North Carolina, 1936.
,
, Sur cet événement, similaire à la célèbre affaire des Scottsboro boys, cf : E. Jaspin, Buried in the Bitter Waters, 2007.
,
,
, Unité Musique est installée à l'Archive of American Folk Song le 1 er juillet 1936. L'Unité Musique ne disposait pas de salle équipée d'un réseau électrique suffisamment puissant. C. Seeger à A, J. Dornbush
, Seeger projettera d'organiser un festival pour promouvoir les projets de l'Unité Musique. Il proposera de l'organiser à Arthurdale qui possède déjà les infrastructures nécessaires (l'école et le community building). Ce projet ne verra jamais le jour
, Farm Security Administration, Special Skills Division, Music Unit, 1936.
, « Titles and Notes on Tunes that Turned up in One Form or Another at the Mountain Music and Dance Contests at Ashevill, North Carolina, 1936.
, Farm Security Administration, Special Skills Division, « clearly of the same class as the contestants and as the average sitter on the bleachers of the Asheville base-ball park in which the festival was held, vol.21
, Folklorist of the Coal Fields: George Korson's Life and Work, 1980.
,
, « grotesque, sensational or ludicrous, vol.21, 1936.
, The Pennsylvania Folk Festival », vol.3, 1936.
, Cela les a rendu initialement têtus en ce qui concerne ce qu'ils voulaient enregistrer 104
, Cf : annexe I.iii.c. carte « sites de collecte de S. Robertson et villages communautaires RA, novembre 1936-janvier, 1937.
, « supplying study material for training local leaders, « Recording with Lunsford in Asheville », 18 novembre 1936
, « Special Skills Division's Accessioned List of Records », Sidney Robertson Cowell Collection Box 6, Folder 26
, This made them stubborn about what they wanted to record, « might result in a trip to Washington for them, to play for the President, pp.7-8, 1936.
, « The road was pretty good for 10 miles and then degenerated into a sort of cowpath full of sharp rocks and clay mudholes
,
, , 1936.
, « Guide to the ILGWU Records, 1884.
, Fighting for the Union Label: The Women's Garment Industry and the ILGWU in Pennsylvania, The Cultural Front : The Laboring of American Cultural in the Twentieth Century, 1998.
, Preliminary Inventory to the Mark Starr Papers TAM.019, 1935.
, , 1936.
, Tennessee Encyclopedia, pp.1933-1967, 2018.
, « The Strikins Miners » et « Strike at Harriman, Tenn. », Special Skills Division List of Records, vol.6
, t again try to combine labor and more orthodox songs in the same locality
, , 1937.
, Ballad Collectors in the Ozarks, The Ballad Collectors of North America: How Gathering Folksongs Transformed Academic Thought and American Identity, 2012.
, , pp.15-16, 1936.
, , vol.30, 1936.
, Bien, je vais chanter pour M. Rossevelt à présent Je remercie M. Roosevelt pour le bien qu'il a fait Il a tant de pauvres gens et ils a sauvé tant de vies 133
, Robertson enregistre un groupe de militants-certains sont affiliés au ILGWU-à Saint-Louis, Missouri. Ce groupe interracial avait participé
, American Folk Music, and the Resettlement Administration, Mountain Stereotypes, Whiteness, and the Discourse of Early School Reform in the Arkansas Ozarks, vol.54, pp.65-66, 1910.
, « were more distinguished for their good will than their musical ability
, Terme fréquemment employé par Robertson pour désigner les chants réécrits par les interprètes sur des mélodies déjà connues
, Sur les chants à propos de Roosevelt cf : G. Van Rijn, Roosevelt's Blues : African American Blues and Gospel Songs on FDR, 1997.
, Public Work Administration, agence d'aide à l'emploi créée par
, L'enregistrement de ces morceaux a été égaré
, cf : annexe IV.ii. « Transcription par Robertson des paroles du chant 'Mister Roosevelt' pour l'Unité Musique de la Resettlement Administration, vol.25
, Rappelons que le second New Deal élimine en grande partie les aides directes du premier en contre partie de la création de la WPA et de ses autres agences, Grassroots at the Gateway: Class Politics and Black Freedom Struggle in St. Louis, pp.1936-75, 2009.
, Sessler, « Folk Music in the Ouachita Mountains
, American Folk Music, and the Resettlement Administration, Plusieurs coupures de presse relatent les collectes de Robertson pour la RA à Mena et Springfield : M, pp.1936-1937
, Old Ballads Resettled », 16 décembre 1936, source inconnue. ; S. Arne, « Song Plugger, vol.27
, Sidney Robertson's Dusenbury recordings are the best and most extensive ones housed in the Library of Congress. », S.R. Sessler, « Folk Music in the Ouachita Mountains, p.30, 1997.
, , 1937.
, , 1936.
, Seeger souhaitait équiper l'Unité Musique d'une caméra, mais Dornbush n'avait pas réussi à en justifier l'achat, trop onéreux selon lui pour passer dans le
, We wish to have the song sheets as true to life and as generally valuable as possible
, Hillbilly: A Cultural History of an American Icon, 2004.
, Farm Security Administration, Special Skills Division, Music Unit, 1936.
, Une vaste sélection de ces photographies est visible ici : Farm Security Administration, Office of War Information Black-and-White Negatives, 2018.
, Seeger, s.d [ entre fin mai et début août 1937, vol.6
, 17 octobre 1936, The Robert C. Binkley Papers
, elle travaille pour le FTP à une bibliographie de cowboy songs, vol.26
, Polkabilly: How the Goose Island Ramblers Redefined American Folk Music
, , 1937.
, 196 « national 'get-together' », S.G. Knott, « The National Folk Festival after Twelve Years », op. cit. ; A. Wallace, « NFFA to NCTA : The Organization Broadens Its Mission, The 1987 Smithsonian Festival of American Folklife: An Ethnography of Participant Experience, vol.24, pp.3-10, 1988.
, Pour le financement, le NFF dépend des subventions des Citizen's Committees de ces différentes villes, qui ne pourraient d'ailleurs renouveler chaque année leur soutien
,
, Robertson profite surtout de ce festival pour préparer son terrain dans le
, Minnesota en prenant contact avec des collecteurs locaux dont
, Cf : Chapitre 2, sous-partie IV
, Whole People: Folklore and Social Therapeutics in 1920s and 1930s America, vol.110, p.437, 1997.
, « Special Skills Division's Accessioned List of Records, vol.26
, « American Gesture, vol.6, 1936.
, Sorden publiera plusieurs ouvrages sur le folklore des bûcherons, Wisconsin Lore: Antics and Anecdotes of Wisconsin People and Places, p.22, 1956.
, Finnish Folk Songs In Minnesota », Notes and Document, vol.47, pp.477-479, 1934.
, , vol.12, 1937.
, Sidney Robertson Cowell Collection, vol.6, p.176, 1937.
, Ethnic Music on Records: A Discography of Ethnic Recordings Produced in the United States, 1893 to 1942, vol.5, 1990.
, , 1997.
, Le Minnesota est l'État comptant le plus d'habitants d'origine finlandaise à l'exception du Michigan. À Cloquet, ils ont établi des saunas publics et un « Finn Hall » donnant régulièrement des spectacles, J.P. Leary, Folksongs of Another America, p.52
, , 1937.
, roman épique en vers considéré comme l'épopée nationale officielle finlandaise, a été compilé entre les années 1820 et 1840 par le médecin et folkloriste Elias Lönnrot à partir de chants et poèmes principalement collectés en Carélie. C'est dans le cadre de son usage nationaliste finlandais que cette origine imaginaire a été construite et diffusée
, « The Kalevala and the Authenticity Debate » in Manufacturing a Past for the Present: Forgery and Authenticity in Medievalist Texts and Objects in Nineteenth-Century Europe, p.56, 2004.
, The Discovery of Finnish American Folk Music, p.481
, « If it can be successfully demonstrated here on a very small scale, the possibilities of a really comprehensive national project are increased enormously
, Robertson le nomme « the statistical, survey, and research project ». Dans le rapport final publié du programme, il est intitulé « The Research And Records Programs of the Division of Service Projects ». Pour plus de clarté, nous l'appellerons dorénavant le Research Program. The Research and Records Programs of the Division of Service Projects ; Final Report, 1944.
, voir : W. P. A. Technical Series : Research and Records Bibliography, 1938.
, The Research and Records Programs of the Division of Service Projects ; Final Report, p.15
, The Cultural Program of the W.P.A, 2018.
, Cf : sous-partie suivante pour le manuel d'instruction élaboré par Robertson
, The Research and Records Programs of the Division of Service Projects ; Final Report, « assembly line, pp.13-14
, American Composers Alliance, 2009.
, , vol.29
, « he is absolutely tops in his rather broad sociological field
, Consulté le 23 mai 2018 ; E.C. Lindeman, The Community; An Introduction to the Study of Community Leadership and Organization, 1921.
, The March of Spare Time: The Problem and Promise of Leisure in the Great Depression, p.56, 2005.
, Ne jugez jamais un folk-singer par la beauté tonale de son chant
, N'admirez jamais une performance, [mais] seulement l'histoire racontée par le chant ou la ligne mélodique 62
, Les critères permettant de définir si un chant mérite ou non d'être préservé ne sont pas liés à ses qualités littéraires ou d'interprétation, mais à sa popularité (« s'il était
, « California Folk Music Project. Collection of Traditional Music in California. Instructions to Workers, p.1
, Cf : sous-partie suivante sur le traitement des données collectées
, Cf : Chapitre 3, sous-partie II
, Cf : Chapitre 6, sous-partie III pour une discussion des catégories employées par Robertson
, Instructions to Workers, p.2
, « If it was widely current at any time, known to and sung by many people
, « If it has been known to several generations in a family » ; « If it is a special favorite and particularly good fun to sing
, If it is an account of a true happening, with local details and place names, p.1
, Cf : Chapitre, vol.5
, , 1938.
, Proposed Recording Expedition into the Floridas, 1939.
, conviés une douzaine de chanteurs islandais dont certains lui ont été recommandés par, Cowell, vol.103
, , 1938.
, , vol.29
,
, The Armenian Neume System of Notation, British Journal of Ethnomusicology, vol.9, issue.2, p.57, 1871.
, , 1938.
, The Cataloging of Folk-Song Records, p.14
DOI : 10.2307/890376
,
, Carton Ctn. 1, California Folk Music Project Records, The Music Library, Report on Work in Progress, California Folk Music Project, 1939.
, « Statement of Accomplishment : A Study of California Folk Music
, « Transcription textuelle et mélodique du morceau 'Menino Jesus a Lapa' par S. Robertson pour le CFMP. » pour un exemple du type de transcription réalisée à partir des enregistrements pour mener à bien ce projet de classification mélodique
, Robertson et Poladian mentionnent notamment les travaux de Sigurd Bernhard
,
, The Cataloging of Folk-Song Records, p.15
, « Recherche de documents musicaux par similarité mélodique, Abstract », Document numérique, vol.11, p.53, 1996.
DOI : 10.3166/dn.11.3-4.107-125
, The German Folksong Archive : Fiftieth Anniversary, vol.17, 1964.
, The Cambridge Companion to Bartók, vol.157, p.36, 2001.
, , 1938.
, « The Recording of Folk Music in California
, Cf : Chapitre 2, sous-partie I
, La classification organologique Sachs/Hornbostel
, , 1939.
, Pour la liste complète des articles traduits cf :« Inventory of the California Folk Music Project records, pp.1938-1942
, Cf : annexe 5.v. pour une photographie de S. Robertson copiant des disques du CFMP à Berkeley
, , vol.13
, Pour la liste complète des ouvrages copiés par le CFMP cf : « Inventory of the California Folk Music Project records, pp.1938-1942
, Ou du lien entre une machine à microfilms et comment on fait de l'histoire, Matériaux pour l'histoire de notre temps, vol.82, 2006.
, , 1938.
, « Notes on the Future Planning Problem of Federal Project No. One, Federal Writers' Projects and Historical Records Survey », communication donnée le 10 juillet 1936 lors de la conférence régionale de la HRS à Salt Lake City, « We have before us an opportunity to localize, decentralize, and democratize culture, vol.27
, The first time, Life, Works, Ideas, vol.11, pp.1897-1940, 2018.
, Pittsburg et Brentwood-où Robertson collecte abondamment, sont devenus de grands centres industriels (agro-alimentaire, chemin de fer, automobile) attirant de plus en plus de migrants venus d'Europe, du Moyen Orient, d'Asie, Dans les années 1930, San Francisco est connu pour sa vie culturelle moderniste et cosmopolite, et les villes de la Contra Costa-Berkeley
, Look out, child, or you'll turn into a scholar! which, considering that scholars seem to consider me a little tainted by recreation and prog. educ. notions, tickled me
, Dans les années 1930, un peu moins d'un quart de la population de plusieurs grandes villes de la Contra Costa sont des immigrés d'origine européenne (« foreign-born white ») de première génération, entre un et deux pour cent sont Noirs-Américains et environ 2 pour cent sont « Chinese et, p.15, 1993.
, directeur d'un camp de la FSA, une copie de paroles de chants de migrants 193. La manière dont elle présente son objet à
, John Lomax : Nous proposons de collecter des chants traditionnels et de la musique de Californie du Nord, parmi les descendants des premiers colons californiens dans le comté montagneux de Siskiyou par exemple. Et s'il y a des traces de chants chantés par et à propos de Forty Niners encore vivants, je suis déterminée à les trouver. Il y a ensuite des Basques et des Islandais qui chantent
, Bibliothèque du Congrès si elle met trop en avant la dimension multi-culturelle de son projet et de ne pas entrer dans leur définition épistémologique du folk. Elle demande en effet aux deux hommes de lui indiquer quels sont les critères de l'AAFS définissant les « traditional singers 195 » en opposition à des chanteurs plus éduqués comme ceux qu'elle avait eu l'occasion de collecter à la RA (elle cite le Dr. McIntosh de Cabondale, Illinois, comme exemple de 'éducation faible, un mode vie relativement isolé et un apprentissage oral des chants plutôt qu'à partir de sources écrites
, Sonkin Collecting Expedition-Voices from the Dust Bowl: the Charles L. Todd and Robert Sonkin Migrant Worker Collection, Digital Collections, Library of Congress, pp.1940-1941, 2018.
, « Inventory of the California Folk Music Project records, pp.1938-1942
, , 1938.
,
, « for their own sake
, L'anglo-centrisme de Spivacke est ainsi couplé avec une représentation de la folk music plaçant à la marge, voire excluant, les musiques religieuses
, , 1938.
, Cf : chapitre, vol.3, issue.5
, , 1938.
, , vol.10
, « no objections to foreign langage groups, 1938.
, « Do not forget the American songs because we have no such material from this state
, 15 mai 1938, California Gold. documenteront toutes exclusivement des musiques anglo-américaines, que cela soit le Gold Rush Song Book publié en 1942 par Robertson
, , vol.1
,
, , vol.1
, The Gold Rush Song Book : Comprising a Group of Twenty-Five Authentic Ballads as they Were Sung by the Men Who Dug for Gold in California During the Period of the Great Gold Rush of 1849, Consulté le 10 juin 2018. L'identité, 1940.
, Les catégories du California Folk Music Project
, Par commodité, la collection est divisée en deux parties. La série E consiste en des chants, des morceaux au violon et à l'harmonica, etc., par des interprètes dont la langue maternelle est l'anglais. La série M contient de la musique enregistrée par des interprètes des groupes de nationalité dont la langue maternelle est autres que l'anglais : Basques-espagnols, insulaires des Hébrides, dans le choix des catégories de classification des disques du CFMP, p.210
, Robertson choisit de classer ses enregistrements en deux grandes catégories fondées sur la langue, ce qui indique une influence toujours importante du folklore littéraire et consécutivement d'une vision anglo-centrée s'appliquant même à des pièces instrumentales où la langue d'origine des musiciens n'est pourtant pas audible. Sa définition pose d'ailleurs problème, car elle classe des musiciens chantant en italien dans la catégorie M alors que leur fort accent américain semble indiquer que leur langue précision. Il s'agit probablement de Ruth Eleanora Bosworth Black, En dépit de l'influence de la musicologie et de l'anthropologie fonctionnaliste qui aurait pu l'amener à des catégorisations par traits musicaux ou fonctions sociales
, Smithsonian Folkways, 1956.
, L'année suivante, la collection de Folkways Records est rachetée par la Smithsonian Institution. Robertson publiera trois disques chez ce label : S. Robertson Cowell, Wolf River Songs et en 1957 Songs of Aran Island. S. Robertson Cowell, « Songs of Aran, Le label Folkways Records sera créé en 1948 par Moses Asch à New York. Le label publie plus de deux mille disques entre sa fondation et la mort de Asch en, 1955.
, « De père en fils ? Moses Asch et la collection Folkways. Entretien avec Michael Asch », Cahiers d'ethnomusicologie. Anciennement Cahiers de musiques traditionnelles, p.16, 2003.
DOI : 10.2307/40240491
, Nous allons étudier la manière dont Robertson construit ce lien holistique entre des répertoires aussi hétérogènes que les ballades childiennes d'un fils de forty-niners 226 , les chants de la migration des Okies de la FSA 227 , ou le « jazz arménien » d'un orchestre de Fresno. Nous tenterons de préciser davantage les cadres analytiques dans lesquels s'inscrivent ses réflexions et les biais qui en sont parfois inhérents, The Recording of Folk Music in California, p.12
, « culture in migration, p.11
, 10 novembre 1938, The Robert C. Binkley Papers
, Pionnier de la ruée vers l'or de 1849
,
, Arabie après la Première Guerre mondiale 237 ». L'absence de commentaire de Robertson n'est pas étonnant, ce massacre, comme les atrocités nazis alors en cours, restera encore sujet tabou de nombreuses années 238. Malgré certains biais, Robertson propose à travers le CFMP une histoire multiculturelle de la Californie qui se projette sur celle de la nation toute entière, The Recording of Folk Music in California
, Comment pouvons-nous croire que ces vagues successives de citoyens bon travailleurs n'ont rien apporté à la Californie au-delà de leur travail manuel ? Quelles traditions sont venues avec eux ? Lesquelles ont survécu ici ? Modifiées ou inchangées, Leurs chants nous le diront, si nous pouvons les trouver 239
, Un nombre surprenant de descendants de Forty-Niners vivant maintenant en Californie sont nés ailleurs et sont venus en Californie entre 1880 et 1910. De tels mouvements expliquent pourquoi tant de ballades illustrant l'histoire de la Californie ont été trouvées aussi loin des scènes auxquelles elles se réfèrent que le Maine, le Missouri et la Virginie-Occidentale, et pourquoi les ballades californiennes actuellement découvertes dans l'État sont si souvent chantées par des hommes, Robertson présente systématiquement les répertoires musicaux en les mettant en relation avec les trajectoires migratoires des musiciens
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, Recorded Music in American Life: The Phonograph and Popular Memory, pp.1890-1945, 2003.
, Music at the White House: A History of the American Spirit, 1986.
, Musical Highlights from the White House, 1992.
, Polkabilly: How the Goose Island Ramblers Redefined American Folk Music, 2006.
, Journal of American folklore, vol.114, p.452, 1996.
, Exploring American Folk Music Ethnic, Grassroots, and Regional Traditions in the United States, 2012.
, Love and Theft: Blackface Minstrelsy and the American Working Class, 2013.
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, Strike Songs of the Depression, 2001.
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, Southern Music/American Music, 2015.
, Musical Metropolis: Los Angeles and the Creation of a Music Culture, 1880.
, Music in the USA: A Documentary Companion, From the 1906 Quake to the Second World War, 2008.
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, Representing African Americans in Transatlantic Abolitionism and Blackface Minstrelsy, 2010.
, Une histoire musicale du rock, 2011.
, « Imitation Nation: Blackface Minstrelsy and the Making of African American Selfhood in "Uncle Tom's Cabin" », Novel, vol.39, 2006.
, Birth of an Industry : Blackface Minstrelsy and the Rise of American Animation, 2015.
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, « Religion and Race in American Music, The Oxford Handbook of Religion and Race in American History, 2018.
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, Roosevelt's Blues : African American Blues and Gospel Songs on FDR, 1997.
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, Selling Tradition: Appalachia and the Construction of an American Folk, 1930.
, Propos sur l'art, L'Harmattan, 1999.
, Categorizing Sound: Genre and Twentieth-Century Popular Music, Spiral Way : How the Phonograph Changed Ethnology, 1999.
, Country Boys and Redneck Women: New Essays in Gender and Country Music
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, Encyclopedia of Social and Cultural Anthropology, 1996.
, Choreographing a New World: Katherine Dunham and the Politics of Dance, mémoire de master soutenu à Columbia University en, 2014.
, Go There Tuh Know There': Zora Neale Hurston and the Chronotype of the Folk, American Literary History, vol.13, 2001.
, The Invention of 'Folk Music' and 'Art Music' : Emerging Categories from Ossian to Wagner, 2007.
, Search of the Blues, 2008.
, La fabrique du patrimoine : De la cathédrale à la petite cuillère, Maison des Sciences de l'Homme, 2009.
, Selling the Sounds of the South : The Visual and Verbal Rehetoric of Race Records and Old Time Records Marketing, 1920-1929, thèse soutenue à l'université de Melbourne en, 2011.
, Negoctiating Difference in French Louisiana Music. Categories, Stereotypes, and Identifications, 2015.
, Mules and Men: An E-Text Edition, Segregating Sound: Inventing Folk and Pop Music in the Age of Jim Crow, 2010.
, Des vies en musique. Parcours d'artistes, mobilités, transformations, Coordonné par Sara Le Menestrel, pp.141-142, 2007.
, Creating Country Music: Fabricating Authenticity, 1997.
, A Sound of Strangers: Musical Culture, Acculturation, and the Post-Civil War Ethnic American, 1982.
, The Oxford Handbook of Music Revival, ed. par Caroline Bithell, 2007.
, Folklore et histoire de la discipline 100 Years of American Folklore Studies. A Conceptual History, 1983.
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, The Discovery of Finnish American Folk Music, Scandinavian Folklore, vol.73, 2001.
, Fieldwork Forgotten, or Alan Lomax Goes North, Midwestern Folklore, vol.27, 2001.
, Woodsmen, Shanty Boys, Bawdy Songs, and Folklorists in America's Upper Midwest, The Folklore Historian, vol.24, 2007.
, Folksongs of Another America: Field Recordings from the Upper Midwest, 1937.
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, Society American Folklorists, 100 Years of American Folklore Studies. A Conceptual History, 1988.
, Frankie and Johnny: Race, Gender, and the Work of African American Folklore in 1930s America, 2017.
, The Man who Adores the Negro: Race and American Folklore, 2008.
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, Mills Music Library's Helene Stratman-Thomas project, Center for the Study of Upper Midwestern Cultures, 1937.
, «Folk Music in the Ouachita Mountains, 1997.
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, Anglo-American Folksong Scholarship Since 1898, 1959.
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, Index des personnes
, , vol.143, p.380
, , p.141
, , p.472
, , p.277
, , p.227
, , p.315
, , p.232
, , p.360
, , p.336
, , p.51
, , p.183
, , p.473
, , p.468
, , p.316
, , vol.475, p.490
, , vol.476, p.508
, , p.248
, , p.261
, , p.149
, , vol.68, pp.104-110
, , p.434
, , p.221
, , p.171
, , p.171
, , p.129
, , vol.426, p.529
, , p.360
, Philipps : 119, 309n29, vol.358, pp.464-466
, , vol.270, p.485
, , p.338
, , p.284
, , vol.259, p.445
, , vol.53, p.71
, , p.427
, , vol.118, p.119
, , vol.357, p.368
, , p.348
, , p.497
, , p.287
, Boas, vol.47, pp.506-243
, , vol.367, p.368
, , p.471
, , vol.456, p.525
, , vol.87, p.101
, , p.214
, , p.314
, , p.293
, , p.223
, , p.489
, , p.486
, , vol.362, p.433
, , vol.107, p.470
, , p.284
, , p.410
, di Lassus, p.263
, , vol.101, p.260
, , vol.333, p.324
, , vol.250, p.276
, , p.357
, , p.525
, , vol.417, p.432
, , vol.281, pp.444-455
, , vol.68, p.518
, , vol.219, p.224
, , p.123
, , vol.286, p.417
, , vol.447, p.338
, , p.54
, , p.96
, , vol.342, pp.304-311
, , p.471
, , p.212
, , vol.360, p.524
, , p.98
, , p.314
, , vol.350, p.366
, , vol.85, p.267
, , vol.60, pp.105-113
, , p.406
, , vol.74, p.75
, , vol.356, p.357
, , vol.74, pp.411-141
, , p.433
, , p.436
, , p.474
, , vol.474, p.523
, , vol.276, p.287
, , p.366
, , p.132
, , p.475
, , p.405
, , p.232
, , p.449
, , p.400
, , p.90
, , vol.388, p.392
, , p.296
, , vol.74, p.77
, , vol.60, p.65
, , p.71
, , vol.364, p.523
, , vol.244, p.517
, , p.48
, , vol.473, p.474
, , p.357
, , p.261
, , p.467
, , p.469
, Index des personnes
, , vol.284, p.470
, , vol.86, p.306
, , vol.148, p.160
, , p.489
, , p.79
, , p.52
, , pp.294-296
, , p.471
, , vol.142, p.281
, , vol.357, p.426
, , vol.350, p.535
, , p.411
, , p.454
, , vol.247, p.248
, , p.507
, , p.370
, , p.422
, , vol.213, p.247
, , vol.382, p.387
, , p.274
, , p.296
, , p.48
, , vol.357, p.507
, , vol.489, p.515
, , p.290
, , vol.155, p.156
, , p.466
, , p.370
, , p.395
, , p.395
, , vol.416, p.422
, , p.98
, , p.358
, , vol.319, p.485
, , p.240
, , p.337
, , vol.338, p.520
, , p.267
, , vol.456, p.511
, , vol.291, p.325
, , vol.243, p.464
, , p.339
, , p.213
, , p.144
, , p.210
, , p.248
, , p.409
, , vol.257, pp.276-281
, , vol.333, pp.338-126
, , p.144
, , p.296
, , p.259
, , vol.350, p.387
, , p.361
, , vol.382, p.424
, , vol.125, p.464
, , vol.330, pp.429-431
, , p.485
, , vol.260, p.451
, , p.470
, , p.430
, , vol.52, p.244
, , vol.287, p.448
, , p.485
, , vol.62, p.75
, , p.62
, , p.50
, , p.449
, , p.454
, , vol.317, p.397
, , p.79
, , p.467
, , vol.453, pp.459-68
, , p.319
, , vol.291, p.525
, VII. Index des personnes 447n23, vol.304, p.312
, , vol.188, p.517
, , vol.335, pp.429-432
, , p.239
, , p.495
, , p.338
, , p.277
, , p.206
, , p.473
, , p.403
, , p.336
, , vol.87, p.98
, , p.434
, , p.315
, , p.411
, , p.356
, , p.485
, , p.60
, , p.361
, , p.141
, , p.79
, , vol.518, pp.110-120
, , p.168
, , vol.385, p.386
, , vol.239, p.248
, , p.216
, , pp.393-60
, , p.449
, , vol.51, p.55
, , pp.311-348
, , p.128
, , p.225
, , p.357
, , pp.222-223
, , p.284
, , p.262
, , vol.125, p.132
, , p.405
, , vol.469, pp.484-486
, , vol.348, p.417
, , p.348
, , vol.240, p.403
, , vol.350, p.432
, , vol.471, p.474
, , p.262
, , p.183
, , p.224
, , p.66
, , vol.311, p.342
, , vol.146, p.152
, , vol.276, p.515
, , vol.411, p.518
, , vol.368, p.425
, , p.185
, , p.224
, , p.427
, , p.262
, , p.317
, , vol.258, p.283
, , p.320
, , p.303
, , p.91
, , vol.302, p.520
, 39, 255, 294n153, vol.301, p.524
, , vol.172, p.268
, , p.266
, , p.266
, , p.141
, , p.185
, , p.403
, , p.452
, , p.359
, , vol.463, p.487
, , p.245
, , p.292
, , vol.96, pp.245-249
, , p.293
, , p.266
, , vol.76, p.524
, VII. Index des personnes Seeger, p.288
, , vol.45, p.383
, , p.54
, , p.448
, , p.504
, , vol.86, p.518
, , vol.446, p.452
, Sibelius : 335, vol.388, p.407
, , p.287
, , vol.382, p.387
, , p.290
, , p.49
, , vol.137, p.518
, , p.226
, , vol.480, p.489
, , p.266
, , p.335
, , vol.215, p.222
, , p.367
, , vol.358, p.359
, , p.494
, , vol.433, p.437
, , vol.196, p.197
, , p.336
, , p.142
, , vol.367, p.506
, , p.297
, , vol.275, p.284
, , p.285
, , pp.211-161
, , p.124
, , p.451
, , vol.323, p.344
, , p.417
, , vol.282, p.463
, , pp.130-132
, , p.476
, , p.357
, , p.224
, , p.405
, , pp.484-149
, , p.107
, , p.449
, , p.337
, , vol.274, p.275
, , p.224
, , p.368
, , p.49
, , p.336
, , p.240
, , p.402
, , vol.337, p.494
, , pp.335-262
, , p.214
, , vol.366, p.523
, , vol.166, p.186
, , vol.349, p.387
, , p.266
, , p.421
, , vol.269, p.487
, , vol.152, p.381
, , p.227
, , vol.382, p.241
, , p.232
, , vol.238, p.274
, , p.215
, , p.231
, , p.284
, , p.356
, , p.338
, , vol.173, p.191
, , pp.75-76
, , p.233
, , vol.338, p.520
, , p.241
, , p.97
, , p.280
, , p.225
, , p.218
, , p.454
, , p.284
, , p.370
, , p.235
, , pp.235-239
, , p.408
, , p.490