Chris Goertzen
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496814272
- eISBN:
- 9781496814319
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496814272.003.0006
- Subject:
- Music, History, American
This epilogue focuses on “Forked Deer.” It is one of very few fiddle tunes that now flourish in southern fiddle styles ranging from straightforward to quite fancy, and throughout the United States—in ...
More
This epilogue focuses on “Forked Deer.” It is one of very few fiddle tunes that now flourish in southern fiddle styles ranging from straightforward to quite fancy, and throughout the United States—in old-time fiddling in the Upper South, in exuberant West Virginia styles, and in the melodic improvisations of the modern contest fiddling originating in Texas. Both the title and the melody of “Forked Deer” enter the historical record in George P. Knauff's Virginia Reels. Like most southern fiddle tunes, however, “Forked Deer” did not make it into the nineteenth-century mainstream of instrumental anthologies. In fact, this tune found its way into just one publication later in that century. The chapter then considers the title “Forked Deer.” The multivalence of the title “Forked Deer” plus the particular retitling of the tune touch most of the normal categories for fiddle tune titles in the American South.Less
This epilogue focuses on “Forked Deer.” It is one of very few fiddle tunes that now flourish in southern fiddle styles ranging from straightforward to quite fancy, and throughout the United States—in old-time fiddling in the Upper South, in exuberant West Virginia styles, and in the melodic improvisations of the modern contest fiddling originating in Texas. Both the title and the melody of “Forked Deer” enter the historical record in George P. Knauff's Virginia Reels. Like most southern fiddle tunes, however, “Forked Deer” did not make it into the nineteenth-century mainstream of instrumental anthologies. In fact, this tune found its way into just one publication later in that century. The chapter then considers the title “Forked Deer.” The multivalence of the title “Forked Deer” plus the particular retitling of the tune touch most of the normal categories for fiddle tune titles in the American South.
Gregory Hansen
- Published in print:
- 2011
- Published Online:
- March 2014
- ISBN:
- 9781617031403
- eISBN:
- 9781617031427
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617031403.003.0011
- Subject:
- Literature, Folk Literature
In 2001, the Florida Department of State honored fiddler Richard Seaman with a Folk Heritage Award. The award was in recognition of Seaman’s old-time fiddling and of his gifts as a storyteller, as ...
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In 2001, the Florida Department of State honored fiddler Richard Seaman with a Folk Heritage Award. The award was in recognition of Seaman’s old-time fiddling and of his gifts as a storyteller, as well as his contributions to Florida’s next generation of fiddlers. This chapter explores Seaman’s life and art, and his contributions as a fiddler and storyteller in shaping Florida’s soundscape. It looks at Seaman’s “old-time fiddling” style and old-time music, as well as the role of fiddling in Florida’s folk culture.Less
In 2001, the Florida Department of State honored fiddler Richard Seaman with a Folk Heritage Award. The award was in recognition of Seaman’s old-time fiddling and of his gifts as a storyteller, as well as his contributions to Florida’s next generation of fiddlers. This chapter explores Seaman’s life and art, and his contributions as a fiddler and storyteller in shaping Florida’s soundscape. It looks at Seaman’s “old-time fiddling” style and old-time music, as well as the role of fiddling in Florida’s folk culture.
