File Name: real country music and language in working-class culture .zip
In Lockhart, Texas, a rural working-class town just south of Austin, country music is a way of life. Conversation slips easily into song, and the songs are full of conversation. Anthropologist and musician Aaron A. Fox spent years in Lockhart makingMoreIn Lockhart, Texas, a rural working-class town just south of Austin, country music is a way of life.
It also examines the ways country artists and others have welded ideas of an authentic and genuine music to those performances to make those contingent stages seem solid, stable, and unchanging, even as they reflect a southern culture in transition. It assumes a tight connection between the images presented on stage and the off-stage relationships between performers, producers, and other industry insiders, an interconnection that has had ramifications for country music scholarship as well. Keywords: gender , authenticity , barn dance radio , country western music , country music , tomato controversy. Country music has always hidden the instability of its gender conventions and performances under the guise of authenticity. In that time of change, the Opry sold its stage and characters like Minnie Pearl as tradition embodied, as representatives of a rural southern past in a modern present. In a second example from January , I watched an Opry show that laid claim to an authentic stage, but did so using its own past, thick southern accents, and haute couture to establish what was genuine and real to an audience of Smart phone users photographing the show.
Haugh Aaron A. Duke University Press, In Real Country , Aaron Fox has produced a theoretically sophisticated and beautifully written ethnography, giving readers a lyrical depiction of working class Texan barroom life, while developing a theory of the speaking and singing voice as central to working class culture. In a place where "poverty and the risk of poverty" 31 are pervasive, and work is "alienated, body-wrecking, and mind-numbing" 32 , people construct unique selves and create spaces of warm sociability through country music and other verbal art forms. Working in the zone where linguistic anthropology and ethnomusicology overlap, building on and contributing to both disciplines not to mention cultural studies , Fox makes a persuasive case for the importance of song in the constitution of particular social and cultural worlds, and of the selves who inhabit those worlds.
Culture was defined earlier as the symbols, language, beliefs, values, and artifacts that are part of any society. As this definition suggests, there are two basic components of culture: ideas and symbols on the one hand and artifacts material objects on the other. The first type, called nonmaterial culture , includes the values, beliefs, symbols, and language that define a society. These elements of culture are discussed next. Every culture is filled with symbols , or things that stand for something else and that often evoke various reactions and emotions. Some symbols are actually types of nonverbal communication, while other symbols are in fact material objects. A common one is shaking hands, which is done in some societies but not in others.
London and New York: Routledge. Brandstad, A. Gripsrud Ed. Ching, B. New York: Oxford University Press. Dyndahl, P. Action, Criticism, and Theory for Music Education 13 1 :
These days, Lockhart is a stop on the highway for occasional Read Online · Download PDF. Save. Cite this Item.
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Author: Aaron A. Fox spent hundreds of hours observing, recording, and participating in talk and music-making in homes, beer joints, and garage jam sessions. Throughout, Fox focuses on the human voice. His analyses of conversations, interviews, songs, and vocal techniques show how feeling and experience are expressed, and how local understandings of place, memory, musical aesthetics, working-class social history, race, and gender are shared. In Real Country , working-class Texans re-imagine their past and give voice to the struggles and satisfactions of their lives in the present through music. Murphy , Ethnomusicology. Fox … has produced for us a sensitive and beautifully written ethnography that will be a model of such work for years to come.
- Вчера вечером я специально позвонил дежурному лаборатории систем безопасности и попросил его сегодня не выходить на работу. Сьюзан это не удивило. Она не могла припомнить, чтобы когда-то отменялось дежурство, но Стратмор, очевидно, не хотел присутствия непосвященных. Он и мысли не допускал о том, что кто-то из сотрудников лаборатории узнает о Цифровой крепости. - Наверное, стоит выключить ТРАНСТЕКСТ, - предложила Сьюзан. - Потом мы запустим его снова, а Филу скажем, что ему все это приснилось. Стратмор задумался над ее словами, затем покачал головой: - Пока не стоит.
Стратмор только сделал вид, что звонил по телефону. Глаза Хейла расширились. Слова Сьюзан словно парализовали его, но через минуту он возобновил попытки высвободиться. - Он убьет. Я чувствую. Ведь я слишком много знаю.
Сьюзан знала, что остальное - это штурмовая группа АНБ, которая, перерезав электрические провода, ворвется в дом с автоматами, заряженными резиновыми пулями.