Balancing Local and National Approaches at American Fiddle Contests

Goertzen, Chris

doi:10.2307/3052603

Cited by 6 publications

(2 citation statements)

References 2 publications

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“…23.Neil Rosenberg and Charles Wolfe (2007, p. 231) refer to ‘I'm Goin Back to Old Kentucky’ as a ‘chestnut from Monroe's glory years at Columbia’. Krauss, on the other hand, has a long history of balancing traditional and progressive approaches to music, as evidenced by her Texas-style contest fiddling as an eleven-year-old (Goertzen 1996, pp. 359–61) and the mixture of popular-contemporary and classic-bluegrass sounds on her albums (Fenster 1993).…”

Section: Endnotesmentioning

confidence: 99%

What is bluegrass anyway? Category formation, debate and the framing of musical genre

Rockwell¹

2012

Pop. Mus.

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This article examines the contested issue of defining the genre of bluegrass music. Interpreting this debate as a subjective negotiation and renegotiation of a category, it focuses on the discursive and musical means through which ontologies of bluegrass are framed. In doing so, the article adds to a growing body of literature that considers genre in popular music as a flexible construct involving both musical performance and cultural formations. The article begins by exploring the idea of bluegrass as constructed by Bill Monroe and a number of early bluegrass scholars, after which it invokes recent work on human cognition and categorisation to analyse the genre debate among bluegrass enthusiasts. The article ultimately proposes that such discourse, notwithstanding its apparent futility, can be regarded as a vital means for a genre's self-perpetuation.

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Section: Endnotesmentioning

confidence: 99%

What is bluegrass anyway? Category formation, debate and the framing of musical genre

Rockwell¹

2012

Pop. Mus.

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“…Competitions in folk music and dance are less institutionalized but have flourished at revivalist festivals in recent years, most often in conjunction with ethnic or nationalist movements. For example, competitions in American fiddle music, Norwegian fiddling, Native American powwow dancing, and Scottish traditional music and dance have all sprung up in the past fifty years and have added great momentum to their respective cultural movements (Goertzen 1996(Goertzen , 1997McKean 1998;Parfit 1994).…”

Section: Revitalization or Standardization? Music Competition Music mentioning

confidence: 99%

Resisting Cultural Standardization: Comhaltas Ceoltoiri Eireann and the Revitalization of Traditional Music in Ireland

Fleming¹

2004

Journal of Folklore Research

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Reviving Scottish Fiddling: An Ethnographic Study of Scottish Fiddling Competitions in the United States

Nebel¹

2014

Excellence in Performing Arts Research

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This paper examines the Scottish fiddling revival in America. Due to its rapid fusion into other fiddling styles, Scottish fiddling did not establish itself as a unique musical genre in the United States. One particular organization, titled "Scottish Fiddling Revival," or "F.I.R.E.," is largely responsible for the revival and has established all of the necessary elements within a revival framework to stimulate and maintain this style of fiddling. The organization sponsors official Scottish fiddling competitions, provides teachers to educate and maintain the style, and fosters a community to interact with the revival. This study examines the revival infrastructure and its implications according to an established framework for the continued development of Scottish fiddling in the United States. economics. This provided possible insight on how the revival in the United States is changing and why. However, he does note that despite any changes musically, the Cape Breton fiddling tradition has remained, on the whole, quite resilient to change musically. Another study by Earl V. Spielman, The Fiddling Traditions of Cape Breton and Texas: A Study in Parallels and Contrasts, compared and contrasted the traditions, approach, and attitude of Cape Breton fiddling and Texas style fiddling. 4 Through this study, he proposes a methodology from which to compare all fiddling traditions, including how they are preserved. Spielman specifically lists elements existing on a continuum for fiddle traditions. These elements include musical components, competitions, audiences, pedagogy and methods of transmission, community settings, and number of participants to a tradition. His methods and concepts are insightful as they provide clues for an ideal environment in which fiddling thrives, with and/or without competitions. Many of Spielman's elements were used as a starting point during fieldwork in this study.

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Balancing Local and National Approaches at American Fiddle Contests

Cited by 6 publications

References 2 publications

What is bluegrass anyway? Category formation, debate and the framing of musical genre

What is bluegrass anyway? Category formation, debate and the framing of musical genre

Resisting Cultural Standardization: Comhaltas Ceoltoiri Eireann and the Revitalization of Traditional Music in Ireland

Reviving Scottish Fiddling: An Ethnographic Study of Scottish Fiddling Competitions in the United States

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