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More chords and fewer strings: The ...

Walter, Richard D.

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More chords and fewer strings: The cultural currency of the four-string banjo in the United States.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	More chords and fewer strings: The cultural currency of the four-string banjo in the United States./
Author:	Walter, Richard D.
Description:	225 p.
Notes:	Source: Dissertation Abstracts International, Volume: 75-07(E), Section: A.
Contained By:	Dissertation Abstracts International75-07A(E).
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3615979
ISBN:	9781303826382

More chords and fewer strings: The cultural currency of the four-string banjo in the United States.
Walter, Richard D.

More chords and fewer strings: The cultural currency of the four-string banjo in the United States. - 225 p.

Source: Dissertation Abstracts International, Volume: 75-07(E), Section: A.

Thesis (Ph.D.)--Indiana University, 2014.

Tenor and plectrum banjos were first popularized in the early twentieth century, when they were used to great effect in the jazz ensembles and dance bands that redefined the social music of the era. Today, these four-stringed tenor and plectrum banjos have largely disappeared from active music making, and have been overshadowed by the wider public recognition of the five-string banjo used in bluegrass and country traditions. Despite the current lack of popular acknowledgement, a passionate community still preserves the unique sounds of the four-string banjo through their participation in ensembles and events across the United States.

ISBN: 9781303826382Subjects--Topical Terms:

516178
Music.

More chords and fewer strings: The cultural currency of the four-string banjo in the United States.
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245 1 0 $a More chords and fewer strings: The cultural currency of the four-string banjo in the United States.
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500 $a Source: Dissertation Abstracts International, Volume: 75-07(E), Section: A.
500 $a Advisers: Henry Glassie; Ruth Stone.
502 $a Thesis (Ph.D.)--Indiana University, 2014.
520 $a Tenor and plectrum banjos were first popularized in the early twentieth century, when they were used to great effect in the jazz ensembles and dance bands that redefined the social music of the era. Today, these four-stringed tenor and plectrum banjos have largely disappeared from active music making, and have been overshadowed by the wider public recognition of the five-string banjo used in bluegrass and country traditions. Despite the current lack of popular acknowledgement, a passionate community still preserves the unique sounds of the four-string banjo through their participation in ensembles and events across the United States.
520 $a This dissertation addresses the ongoing significance of the four-string banjo in the lives of those who attend organized "banjo blasts" and "banjo-ramas," where tenor and plectrum banjoists have opportunities to perform for appreciative audiences and also to socialize with fellow enthusiasts. Regular attendance at such gatherings becomes a significant source of social capital in the lives of participants, and the performances preserve an idealized model of personal interaction as much as they preserve a bygone musical tradition.
520 $a Based on fieldwork conducted from 2011 to 2013, the study documents a particularly energetic negotiation of priorities and concerns as the banjo community determines how to proceed into the future despite an aging core membership and the conspicuous absence of younger banjoists within the central All Frets organization. Augmented by a consolidation of information that relocates the tenor and plectrum banjo in the narrative of American music, this research demonstrates that the musical and cultural atmosphere of the four-string banjo community is substantially different from that of the popularly generalized five-string instrument.
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