MARC Record from harvard_bibliographic_metadata

LEADER: 03357cam a2200385 a 4500
001 012544591-1
005 20101022145542.0
008 091130s2010 njuaf b 001 0 eng
010 $a 2009049319
020 $a9780691143637 (cloth : alk. paper)
020 $a0691143633 (cloth : alk. paper)
035 0 $aocn466343254
040 $aDLC$cDLC$dBTCTA$dYDXCP$dC#P$dBWX$dCDX$dHEBIS$dUV0
043 $an-us---
050 00 $aML3918.F65$bR69 2010
082 00 $a306.4/84240973$222
100 1 $aRoy, William G.,$d1946-
245 10 $aReds, whites, and blues :$bsocial movements, folk music, and race in the United States /$cWilliam G. Roy.
246 30 $aSocial movements, folk music, and race in the United States
260 $aPrinceton :$bPrinceton University Press,$cc2010.
300 $axii, 286 p., [8] p. of plates :$bill. ;$c25 cm.
490 1 $aPrinceton studies in cultural sociology
504 $aIncludes bibliographical references (p. [263]-276) and index.
505 0 $aSocial movements, music, and race -- Music and boundaries : race and folk -- The original folk project -- White and black reds : building an infrastructure -- Movement entrepreneurs and activists -- Organizing music : the fruits of entrepreneurship -- The Highlander School -- Music at the heart of the quintessential social movement -- A movement splintered -- How social movements do culture.
520 $a"Music, and folk music in particular, is often embraced as a form of political expression, a vehicle for bridging or reinforcing social boundaries, and a valuable tool for movements reconfiguring the social landscape. Reds, Whites, and Blues examines the political force of folk music, not through the meaning of its lyrics, but through the concrete social activities that make up movements. Drawing from rich archival material, William Roy shows that the People's Songs movement of the 1930s and 1940s, and the civil rights movement of the 1950s and 1960s implemented folk music's social relationships--specifically between those who sang and those who listened--in different ways, achieving different outcomes. Roy explores how the People's Songsters envisioned uniting people in song, but made little headway beyond leftist activists. In contrast, the civil rights movement successfully integrated music into collective action, and used music on the picket lines, at sit-ins, on freedom rides, and in jails. Roy considers how the movement's Freedom Songs never gained commercial success, yet contributed to the wider achievements of the civil rights struggle. Roy also traces the history of folk music, revealing the complex debates surrounding who or what qualified as 'folk' and how the music's status as racially inclusive was not always a given. Examining folk music's galvanizing and unifying power, Reds, Whites, and Blues casts new light on the relationship between cultural forms and social activity."--book jacket.
650 0 $aFolk music$xPolitical aspects$zUnited States$xHistory$y20th century.
650 0 $aSocial movements$zUnited States$xHistory$y20th century.
650 0 $aMusic and race$zUnited States$xHistory$y20th century.
650 07 $aMusikethnologie.$2swd
650 07 $aRassenkonflikt.$2swd
651 7 $aUSA.$2swd
830 0 $aPrinceton studies in cultural sociology.
988 $a20100805
049 $aHMUU
906 $0DLC