条目
Appalachian music
Appalachian music is the music of the region of Appalachia in the Eastern United States. Traditional Appalachian music is derived from various influences, including the ballads, hymns and fiddle music of the British Isles, and to a lesser extent the music of Continental Europe.
在包含此条目的事件档案中探索信息与关系。
还没有包含此条目的事件档案。
从此条目开始调查等待第一条评论。
Appalachian music is the music of the region of Appalachia in the Eastern United States. Traditional Appalachian music is derived from various influences, including the ballads, hymns and fiddle music of the British Isles, and to a lesser extent the music of Continental Europe.
Appalachian music is the music of the region of Appalachia in the Eastern United States. Traditional Appalachian music is derived from various influences, including the ballads, hymns and fiddle music of the British Isles (particularly Scotland), and to a lesser extent the music of Continental Europe.
First recorded in the 1920s, Appalachian musicians were a key influence on the early development of old-time music, country music, bluegrass, and rock n' roll, and were an important part of the American folk music revival of the 1960s. Instruments typically used to perform Appalachian music include the banjo, American fiddle, fretted dulcimer, and later the guitar.
Early recorded Appalachian musicians include Fiddlin' John Carson, G. B. Grayson & Henry Whitter, Bascom Lamar Lunsford, the Carter Family, Clarence Ashley, and Dock Boggs, all of whom were initially recorded in the 1920s and 1930s. Several Appalachian musicians obtained renown during the folk revival of the 1950s and 1960s, including Jean Ritchie, Roscoe Holcomb, Ola Belle Reed, Lily May Ledford, Hedy West and Doc Watson. Country and bluegrass artists such as Loretta Lynn, Roy Acuff, Dolly Parton, Earl Scruggs, Chet Atkins, The Stanley Brothers and Don Reno were heavily influenced by traditional Appalachian music.
Immigrants from Northern England, the Scottish lowlands, and Ulster arrived in Appalachia in the 17th and 18th centuries (with many from Ulster being "Ulster Scots", whose ancestors originated from parts of Southern Scotland and Northern England, including Cumberland), and brought with them the musical traditions of these regions, consisting primarily of English and Scottish ballads – which were essentially unaccompanied narratives – and dance music, such as reels, which were accompanied by a fiddle.
Many Appalachian ballads, such as "Pretty Saro", "The Cuckoo", "Pretty Polly", and "Matty Groves", descend from the English ballad tradition and have known antecedents there. Other songs popular in Appalachia, such as "Young Hunting", "Lord Randal", and "Barbara Allen", have Scottish Lowlands roots. Many of these are versions of the famous Child Ballads, collected by Francis James Child in the nineteenth century. The dance tune "Cumberland Gap" may be derived from the tune that accompanies the Scottish ballad "Bonnie George Campbell". According to the musicologist Cecil Sharp the ballads of Appalachia, including their melodies, were generally most similar to those of "the North of England, or to the Lowlands, rather than the Highlands, of Scotland, as the country from which they [the people] originally migrated. For the Appalachian tunes...have far more affinity with the normal English folk-tune than with that of the Gaelic-speaking Highlander."
Several Appalachian fiddle tunes have origins in Gaelic-speaking regions of Ireland and Scotland, for example "Leather Britches", based on "Lord MacDonald's Reel". These may have come to Appalachia via printed versions which were very popular throughout the British Empire in the eighteenth century, rather than directly from Gaelic areas. The style of the 18th century Scottish fiddler Niel Gow, which involved a powerful and rhythmic short bow sawstroke technique, is said to have become the foundation of Appalachian fiddling.
The early British immigrants also brought a form of church singing called lining out or calling out, in which one person sings a line of a psalm or hymn and the rest of the congregation responds. This type of congregational singing, once very common all over colonial America, is now largely restricted to Old Regular Baptist churches in the hills of southwest Virginia, southern West Virginia, and eastern Kentucky.
There were German, Polish and Czech cultural pockets in Appalachia as well as many Dutch and French Huguenot immigrants. These cultures largely assimilated, but some songs and melodies, for example the German "Fischer's Hornpipe", remained in the repertoires of their Americanized ancestors. A recording of the fiddler Tommy Jarrell playing "Fisher's Hornpipe" can be heard online.
The "Appalachian" or "mountain" dulcimer, thought to have been a modification of a Germanic instrument such as the scheitholt, (or possibly the Norwegian langeleik or the French épinette des Vosges) emerged in Southwest Pennsylvania and Northwest Virginia in the 19th century. In the early 20th century, settlement schools in Kentucky taught the fretted dulcimer to students, helping spread its popularity in the region. Jean Ritchie was largely responsible for popularizing the instrument among folk music enthusiasts in the 1950s.
Appalachian yodeling is thought to have entered the Appalachian mountains in the 18th century, brought by immigrants from Germany, Scandinavia and Switzerland, where it was generally used to communicate over longs distances in mountainous terrain similar to the Appalachians. Vocal feathering, practiced by singers including and described as a "half-yodel", (or more accurately, according to Judith McCulloh, as 'A sudden or forceful raising of the soft palate against the back wall of the throat and/or a sudden closing of the glottis at the very end of a given note, generally accompanied by a rise in pitch'), may also be Germanic in origin.
Affrilachians have had a profound impact on regional Appalachian music culture, partially owning to the fact that Affrilachians have been in the region for as long as the earliest Europeans. African musical traditional have influenced all Appalachian music styles; moreover, the blues is foundational to bluegrass and country music. Affrilachians also have distinct musical styles formed within their community, including Affrilachian styles of jazz and the blues.
The banjo has its origins in Africa and the African American community; the banjo now has many derivative forms, including the banjolin, among others. The washboard, which is played by using one's hands or thimble to stroke the riffs on the instrument, also
来源：Appalachian music （CC BY-SA）
结构化信息、用户意见与 AI 提取的关系会分别标注。
