Every country has a certain heritage of folklore. According to William John Thomas, who is supposed to have coined the term in 1846, folklore includes music as well as customs, clothing, stories, proverbs, jokes and the like. In the United States, this folklore is primarily based on what European immigrants brought to their new residence. The influence of Scottish and Irish folk, for example, is still palpable, despite the fact that folk music in America has developed an idiosyncratic sound.
Tibbe and Bonson remark that the different genres of music are always connected to a specific social group and thus have a meaning that influences the perspective on society and politics significantly. The social role and category of folk music are explained as follows:
Eine … Eigenschaft der Volksmusik ist diejenige, daß sie keineswegs die Musik der gesamten Bevölkerung ist, sondern die der unteren, beherrschten Schichten. … Auch im Hinblick auf diese Eigenschaft wird deutlich, wie sehr die Volksmusik mit der jeweiligen geschichtlichen Situation zusammenhängt: Während der relativ ruhigen Zeit des frühen Feudalismus war sie anders als zu [sic] Zeit der Bauernkriege oder gar in der Zeit des revolutionierenden Proletariats. Träger der Volksmusik sind also im Laufe der Geschichte u. a. Sklaven, Leibeigene, Bauern, Handwerker, Soldaten, Arbeiter.
Inhaltsverzeichnis (Table of Contents)
- 1. INTRODUCTION
- 2. FROM THE GREAT DEPRESSION TO THE SECOND WORLD WAR
- 2.1 THE DEPRESSION AND ITS CONSEQUENCES: WORKERS' MUSIC
- 2.2 WOODY GUTHRIE AND PETE SEEGER FOR THE PEOPLE
- 2.2.1 "This Land Was Made for You and Me": Guthrie's Political Songwriting and Legacy
- 2.2.2 America's "Tuning Fork": Seeger and the Use of Folk Music as a Political Instrument
- 2.2.3 The Almanac Singers
- 3. THE FOLK REVIVAL IN ITS FULL SCOPE: FROM THE POST-WAR PERIOD TO WOODSTOCK
- 3.1 FOLK MUSIC AT THE BREAK OF DAWN OF THE COLD WAR
- 3.2 THE SIXTIES Take SHAPE: POLITICAL MOTION IN SOCIETY AND FOLK MUSIC
- 3.2.1 "We Are Not Afraid": Blacks and Whites Moving for Civil Rights
- 3.2.2 Folk Music and the Peace Movement in Songs
- 3.2.3 Bob Dylan
- 4. FROM WOODSTOCK TO THE PRESENT: LOSING AND REDISCOVERING POLITICAL ENGAGEMENT
- 4.1 RIGHTEOUS BABE ANI DIFRANCO
- 4.2 "THE DAY THAT AMERICA FELL TO ITS KNEES": FOLK MUSIC IN RESPONSE TO 9/11
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This paper aims to explore the political stances reflected in American folk music from the Great Depression to the present day. It investigates the relationship between folk music and significant political and social events, analyzing how musicians used their art to express social criticism, promote political awareness, and influence societal change. The paper also examines the evolution of folk music's political role across different historical periods.
- The impact of socio-political events (Great Depression, Cold War, Civil Rights Movement, 9/11) on the creation and dissemination of folk music.
- The role of prominent folk musicians (Woody Guthrie, Pete Seeger, Bob Dylan, Ani DiFranco) as agents of political and social change.
- The evolution of folk music's political themes and methods of expression throughout history.
- The interplay between personal narratives and broader political commentary within folk music.
- The enduring relevance of folk music as a vehicle for social and political critique.
Zusammenfassung der Kapitel (Chapter Summaries)
1. Introduction: This introductory chapter establishes the context for understanding the relationship between American folk music and its political stances. It defines folklore and its connection to social groups and political perspectives, highlighting the inherent link between folk music and social commentary. The chapter emphasizes the dual nature of folk music, acknowledging both patriotic and critical expressions within the genre, and introduces key figures like Charles and Ruth Crawford Seeger, whose work significantly influenced the understanding and appreciation of American folk music. The chapter lays the groundwork for the subsequent analysis by outlining the paper's objectives and emphasizing the lasting influence of folk music on American society and politics.
2. From the Great Depression to the Second World War: This chapter examines the emergence of politically charged folk music during a period of profound economic hardship and social unrest. It explores how the Great Depression fostered a genre of "workers' music" that gave voice to the struggles and grievances of the working class. The chapter then focuses on the pivotal roles of Woody Guthrie and Pete Seeger, analyzing their songwriting styles, activism, and enduring legacies in shaping the political landscape of American folk music. The chapter also delves into the Almanac Singers, a collective instrumental in promoting leftist political messages through song during this crucial era.
3. The Folk Revival in its Full Scope: From the Post-War Period to Woodstock: This chapter traces the evolution of folk music from the post-World War II era through the height of the folk revival culminating in the Woodstock festival. It analyzes how the Cold War era shaped the political landscape of folk music and examines how folk music played a significant role in the Civil Rights Movement and the anti-war movement of the 1960s. The chapter provides an in-depth exploration of Bob Dylan's impact on the genre, considering his transition from protest singer to more introspective artist, and its implications for folk music's political voice.
4. From Woodstock to the Present: Losing and Rediscovering Political Engagement: This chapter explores the trajectory of politically engaged folk music from the post-Woodstock era to the present day. It investigates the impact of changing social and political landscapes on the genre, examining the continued relevance of folk music as a vehicle for political expression and social critique. The chapter provides a detailed analysis of Ani DiFranco’s contribution to the genre, highlighting her unique blend of political activism and musical innovation and examining the impact of 9/11 on the production of folk music that responded to the event.
Schlüsselwörter (Keywords)
American folk music, political protest songs, social commentary, Great Depression, Cold War, Civil Rights Movement, anti-war movement, Woody Guthrie, Pete Seeger, Bob Dylan, Ani DiFranco, 9/11, activism, social change, cultural heritage, political engagement.
American Folk Music: A Political History - FAQ
What is the main topic of this paper?
This paper explores the relationship between American folk music and its political stances from the Great Depression to the present day. It examines how musicians used their art to express social criticism, promote political awareness, and influence societal change across different historical periods.
What time periods are covered in this study?
The study covers a broad historical span, from the Great Depression and World War II era to the present day, encompassing significant events such as the Cold War, the Civil Rights Movement, and the 9/11 attacks.
Which key musicians are analyzed?
The paper focuses on the contributions of several prominent folk musicians, including Woody Guthrie, Pete Seeger, Bob Dylan, and Ani DiFranco, analyzing their roles as agents of political and social change.
What major historical events are discussed in relation to folk music?
The paper investigates the impact of several socio-political events on the creation and dissemination of folk music, including the Great Depression, the Cold War, the Civil Rights Movement, and the 9/11 terrorist attacks.
What are the key themes explored in the paper?
Key themes include the evolution of folk music's political themes and methods of expression; the interplay between personal narratives and broader political commentary; the enduring relevance of folk music as a vehicle for social and political critique; and the impact of socio-political events on folk music's content and dissemination.
What is the structure of the paper?
The paper is structured chronologically, beginning with the Great Depression and progressing through major historical periods. Each chapter focuses on a specific era and its corresponding musical and political movements. The paper includes an introduction, chapter summaries, objectives and key themes, and keywords.
What are the chapter summaries about?
Chapter 1 provides an introduction to the topic and defines the connection between folk music and social commentary. Chapter 2 examines the emergence of politically charged folk music during the Great Depression and World War II era, focusing on Woody Guthrie and Pete Seeger. Chapter 3 traces the evolution of folk music from the post-war period to Woodstock, highlighting the Civil Rights and anti-war movements. Chapter 4 explores the trajectory of politically engaged folk music from post-Woodstock to the present day, including Ani DiFranco and the response to 9/11.
What are the objectives of this paper?
The paper aims to explore the political stances reflected in American folk music, investigate the relationship between folk music and significant political and social events, analyze how musicians used their art to express social criticism and promote change, and examine the evolution of folk music's political role across different historical periods.
What are the keywords associated with this research?
Keywords include American folk music, political protest songs, social commentary, Great Depression, Cold War, Civil Rights Movement, anti-war movement, Woody Guthrie, Pete Seeger, Bob Dylan, Ani DiFranco, 9/11, activism, social change, cultural heritage, and political engagement.
- Arbeit zitieren
- Cornelia Richter (Autor:in), 2008, US-American folk music and its political stances from the great depression to the present, München, GRIN Verlag, https://www.grin.com/document/114776
