At the heart of the book's portrait of wanderings and legacies is the proposition that America's idiomatic harmonic forms-mountain music and the blues-share a single root, and that the source of the sad and lonesome sounds central to both is neither Celtic nor African, but truly indigenous-Native American. The case is presented through a wide examination of cultural histories, academic works, and government documents, as well as a close appreciation of recordings made by key rural musicians, black and white, in the 1920s and '30s.
The guitar in its many forms has cheered humanity through centuries of upheaval, and The Guitar and the New World offers a new account of this old friend, as well as a transformative look at a hidden chapter of American history.
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