The fakebook generation

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The fakebook generation

History[ edit ] Reflecting the cultures that settled North Americathe roots of old-time music are in the traditional musics of the British Isles primarily Great Britain and Irelandand Europe.

African influences include the banjo. In some regions French and German sources are also prominent. While many dance tunes and ballads can be traced to European sources, many others are of North American origin.

As a label, however, it dates back only to The recordings became hits.

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Okeh, which had previously coined the terms "hillbilly music" to describe Appalachian and Southern fiddle-based and religious music and " race recording " to describe the music of African American recording artistsbegan using "old-time music" as a term to describe the music made by artists of Carson's style.

The term thus originated as a euphemismbut proved a suitable replacement for other terms that were considered disparaging by many inhabitants of these regions.

It remains the term preferred by performers and listeners of the music. It is sometimes referred to as "old-timey" or "mountain music" by long-time practitioners.

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While similar music was played in all regions of the United States in the 18th and 19th centuries, in the 20th century it came to be associated primarily with the Appalachian region.

The New Lost City Ramblers in particular took the revival across the country and often featured older musicians in their show.

When Tom left the band, he was replaced by Tracy Schwarz. New Lost City Ramblers sparked new interest in old-timey music. Instrumentation[ edit ] Old-time music is played using a wide variety of stringed instruments.

The instrumentation of an old-time group is often determined by what instruments are available, as well as by tradition. The most common instruments are acoustic string instruments. Historically, the fiddle was nearly always the leading melodic instrument, and in many instances if no other instruments were available dances were accompanied only by a single fiddler, who often also acted as dance caller.

By the early 19th century, the banjo had become an essential partner to the fiddle, particularly in the southern United States.

The Traditional Jazz Educators Network - TJEN Resource Library

The banjo, originally a fretless instrument and frequently made from a gourd, played the same melody as the fiddle though in a lower registerwhile simultaneously providing a rhythmic accompaniment incorporating a high drone provided by the instrument's short "drone string.

Today old-time banjo players most commonly utilize the clawhammer style, but there were originally several other styles, most of which are still in use, loosely grouped by region.

The major styles were clawhammer which also went by a number of regional namestwo-finger index lead also called "North Carolina picking"two-finger thumb lead Kentucky and East Tennesseeand a three-finger "fiddle style" that seems to have been influenced in part by lateth century urban classical style.

A young player might learn whatever style a parent or older sibling favored, or take inspiration from phonograph records, radio, travelling performers and migrant workers, local guitarists and banjo players, as well as other musicians they met when travelling to neighbouring areas.I’ve been researching generational differences for 25 years, starting when I was a year-old doctoral student in psychology.

Typically, the characteristics that come to define a generation. TJEN Resource Library The Traditional Jazz Educators Network operates the TJEN Resource Library (item #4 in our Action Plan).The library consists of donated traditional jazz materials that are made available at no charge for the use of jazz educators and their students.

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The fakebook generation

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