Cajun Folk Songs
RunMoHappyhttp://gdata.youtube.com/feeds/api/users/runmohappyMusicCajun Folk Songs
Duration : 0:5:42
Cajun Folk Songs II – Frank Ticheli
“Cajun Folk Songs II”
Frank Ticheli
I: Ballad
II: Country Dance
2006-2007 Central District
High School Honor Band
Guest Conductor – Brandt Payne
March 2007 Honolulu, Hawaii
Duration : 0:10:2
Pete Seeger: American Folk Music Documentary – To Hear Your Banjo Play (1/2)
1946 http://www.amazon.com/gp/product/B0018PH3OC?ie=UTF8&tag=doc06-20&linkCode=as2&camp=1789&creative=9325&creativeASIN=B0018PH3OC
American folk music encompasses many genres; many are known as roots music. Roots music is a broad category of music including bluegrass, country music, gospel, old time music, jug bands, Appalachian folk, blues, Cajun and Native American music. The music is considered American either because it is native to the United States or because it developed there, out of foreign origins, to such a degree that it struck musicologists as something distinctly new. It is considered “roots music” because it served as the basis of music later developed in the United States, including rock and roll, rhythm and blues, and jazz.
Many roots musicians do not consider themselves to be folk musicians; the main difference between the American folk music revival and American “roots music” is that roots music seems to cover a slightly broader range, including blues and country.
Roots musical forms reached their most expressive and varied forms in the first two to three decades of the 20th century. The Great Depression and the Dust Bowl were extremely important in disseminating these musical styles to the rest of the country, as Delta blues masters, itinerant honky tonk singers and Latino and Cajun musicians spread to cities like Chicago, Los Angeles and New York. The growth of the recording industry in the same approximate period was also important; increased possible profits from music placed pressure on artists, songwriters and label executives to replicate previous hit songs. This meant that fads like Hawaiian slack-key guitar never died out completely as rhythms or instruments or vocal stylings were incorporated into disparate genres. By the 1950s, all the forms of roots music had led to pop-oriented forms. Folk musicians like the Kingston Trio, pop-Tejano and Cuban-American fusions like boogaloo, chachacha and mambo, blues-derived rock and roll and rockabilly, pop-gospel, doo wop and R&B (later secularized further as soul music) and the Nashville sound in country music all modernized and expanded the musical palette of the country.
The roots approach to music emphasizes the diversity of American musical traditions, the genealogy of creative lineages and communities, and the innovative contributions of musicians working in these traditions today. In recent years roots music has been the focus of popular media programs such as Garrison Keillor’s public radio program A Prairie Home Companion and the feature film by the same name.
Genres here range as widely as the definition of folk music itself; working definitions are based on the style and themes of the music regardless of its source. Many are a part of the American Folk Music Revival, including works by Pete Seeger, Woody Guthrie, The Weavers, Burl Ives and others. Others evolved in the 1960s including storytelling type performers such as Bob Dylan, Joan Baez, The New Christie Minstrels, The Limelighters, The Kingston Trio and Judy Collins and counterculture and folk rock performers such as Peter Paul and Mary and The Byrds.
Notable roots musicians have included Jelly Roll Morton, Blind Lemon Jefferson, Robert Johnson, Bessie Smith, Burl Ives, Pete Seeger, Woody Guthrie, Son House, Leadbelly, Hazel Dickens, Jimmie Rodgers, Bill Monroe, Lester Flatt and Earl Scruggs, Roy Acuff, Hank Williams, Merle Travis, Townes Van Zandt, Johnny Cash, Maggie Simpson, Mahalia Jackson, Muddy Waters, John Lee Hooker, B.B. King, Washington Phillips, Fiddlin’ John Carson (1868–1949), Johnny Richardson (1908–present; children’s folk music), Willie Nelson, and Jean Ritchie. More recent musicians who occasionally or consistently play roots music include Keb’ Mo’, Ralph Stanley, Jewel, John Denver, Chris Castle, Ricky Skaggs, and Jeremy Fisher, Arlo Guthrie, Joan Baez, Kingston Trio, Peter, Paul & Mary.
Additionally, the soundtrack to the 2000 film O Brother, Where Art Thou? is exclusively roots music, performed by Alison Krauss, The Fairfield Four, Emmylou Harris, Norman Blake and others. The 2003 film A Mighty Wind is a tribute to (and parody of) the folk-pop musicians of the early 1960s.
American roots music was the subject of the 4-part documentary series American Roots Music on PBS in 2001.
Nut Hill Productions, Inc., is now in production on a comprehensive documentary entitled “The Music of America: History Through Musical Traditions,” with an anticipated release date in winter of 2009.
Hootenanny, an early 1960s musical variety show broadcast on ABC in the United States primarily featured folk music performers.
American Roots Music was a 2001 multi-part documentary film that explores the historical roots of American Roots music through footage and performances by the creators of the movement.
Duration : 0:7:46
How to Play the Fiddle : Making Basic Notes Using Five Note Scale on Arpeggio Exercise on the Fiddle
Learn how to make the basic notes using the basic five note scale on arpeggio exercise on the fiddle with expert music training tips in this free online instrument instruction video clip for beginners.
Expert: David Kaynor
Contact: www.DavidKaynor.com
Bio: David Kaynor has over 30 years of fiddle playing experience. He currently teaches and plays the fiddle in the Connecticut River Valley.
Filmmaker: Jay Holzer
Duration : 0:3:5
Why isn’t there any sense of Cajun nationalism?
I mean, you would think that there would at least be some fringe group of Cajuns or something, but there isn’t.
I mean, Cajuns make up about 10-15% of the population of Louisiana, which, granted, isn’t much. But it’s nothing to scoff at. I mean, they’re a different ethnic group, they have a different language, culture, and quite frankly, they’ve been there longer than any American. And yeah, they may not make up an enormous amount of the population, but that doesn’t stop the French Canadians in Quebec.
So…..why is there no Cajun nationalism? Different culture, language, traditions, cuisine, etc..why no sepratist sentiment?
Because, sad to say, the French-speaking peoples of Louisiana, the Cajuns, Creole Whites and Creoles of Colour, have been forced to disregard their language and culture for the last 100 years. The English-dominated educational system made them feel shame for being French, and because of that they were more or less treated like immigrants and outsiders in a region where they have been living for over 400 years.
And while the Cajuns weren’t the first to reach the New World, they and the Creoles have inhabited the region for the last 300 years. New Orleans was French for two centuries before it became American, they never came to the United States, the United States came to them and trampled them underfoot with the imposition of a language and culture that was foreign to them while simultaneously degrading their own traditions. Sh*t, if I was a Cajun I would be mad as HELL and be PROUD to retain my language and culture today.
Cajun Music with Doc Guidry, D L Menard, Marc & Ann Savoy
Uof C Folk Festival performance
Duration : 0:1:55
