26 Songs in 30 Days: Woody Guthrie's Columbia River Songs by Greg Vandy, Daniel Person

By Greg Vandy, Daniel Person

In 1941, Woody Guthrie wrote 26 songs in 30 days—including classics like “Roll On Columbia” and “Pastures of Plenty”—when he used to be employed via the Bonneville strength management to advertise some great benefits of reasonable hydroelectric energy, irrigation, and the Grand Coulee Dam. Timed to have a good time the seventy fifth anniversary of this undertaking, KEXP DJ Greg Vandytakes readers contained in the strange partnership among one in every of America’s nice people artists and the government, and exhibits how the yankee folks revival was once a reaction to not easy times.

26 Songs In 30 Days plunges deeply into the historic context of the time and the innovative politics that embraced Social Democracy in the course of an period within which the us have been significantly struggling with the good melancholy. And notwithstanding this can be a musical heritage of a colourful American musical icon and a particular a part of the rustic, it couldn’t be a greater reminder of ways undying and expansive such themes are in today’s political discourse.

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Extra resources for 26 Songs in 30 Days: Woody Guthrie's Columbia River Songs and the Planned Promised Land in the Pacific Northwest

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If the ‘capture zone’ is curtailed by either or both of these factors, musical events very close to beats can be perceived as syncopations. These are the conditions 45 46 Beethoven 1986. ’ (cited in Van der Merwe 1989, p. 276 fn. 12). Snyder 2000, p. 167. What is ‘ groove ’ ? 35 for highly syncopated music, both in terms of frequency (possibility) and degree (strength). All these examples – the Scotch snap, the cakewalk rhythm, and the Leonore figure – should be thought of as precursors to the syncopation proper of groove music.

Latham 2002, ‘Metre’, The Oxford Compansion to Music, Oxford Music Online. 26 chapter 1 It is of course in the instrumental music designed for accompanying dancing that we find the highest degree of rhythmic regularity, particularly music played by ensembles which included the drum. 28 Such rhythms in the European folk music tradition remain fairly rudimentary, necessarily so if performed by the pipe and tabor ‘one man band’, an arrangement which conceivably allows for a degree of temporal flexibility.

Horns and winds tend either to be submerged in the strings-dominated texture or to be playing solo passages, and, in addition, the acoustics of the concert hall tend to mask timing errors. Conversely, most groove music ensembles are dominated by guitars, drums and the piano, percussive and plucking instruments which make sounds with sharp attack characteristics which expose the slightest timing discrepancy. Orchestral musicians are never asked to synchronise their playing with the drums or percussion, the hierarchy of the orchestra ensures it is always the other way round; while the percussive stabs and rhythmic interjections of horn sections in many styles of popular music demand a more aggressive tonguing technique than is generally demanded by the classical tradition, often (and completely alien to the classical tradition) applied to the ends of notes as well as their beginnings.

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