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Journal articles on the topic 'Country music'

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Published: 4 June 2021
Last updated: 29 July 2024

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1

Schneider, David. "Country Music." Scientific American 273, no. 5 (November 1995): 28. http://dx.doi.org/10.1038/scientificamerican1195-28.

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2

Hollowell, Adam, and Alexandria Miller. "Country Music for People Who Don't Like Country Music." Journal of Popular Music Studies 31, no. 4 (2019): 121–41. http://dx.doi.org/10.1525/jpms.2019.31.4.121.

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This essay explores white masculinity and the recuperation of privilege in the figure of Sturgill Simpson, an American country music singer from Jackson, Kentucky. Operating at the intersection of country music studies and third wave whiteness studies, it demonstrates how Simpson deploys the outsider identity of the industry outlaw to recuperate insider benefits of critical acclaim, commercial success, and creative license. As an artist who makes country music for “people who don't like country music,” Simpson functions as a representative figure of the adaptive tactics of white masculinity and the broader politics of inclusion and exclusion in contemporary country music.
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3

Fraser, Max. "Country Music Capital." Dissent 63, no. 1 (2016): 15–19. http://dx.doi.org/10.1353/dss.2016.0008.

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4

Wickes, Helen. "Country Music II." Massachusetts Review 57, no. 4 (2016): 761. http://dx.doi.org/10.1353/mar.2016.0128.

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5

Fenster, Mark. "Country music video." Popular Music 7, no. 3 (October 1988): 285–302. http://dx.doi.org/10.1017/s0261143000002956.

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In order to take advantage of the promotional potential of the music video, the country music industry was forced to adapt a medium with conventions and aesthetic elements established by other musical genres – by pop and rock. And to reach its distinct market country music video also had to incorporate country's own established iconographic elements. This iconography is constructed and understood in two ways: through the traditional concerns of country music lyrics; and through the history of visual media based on and developed around the genre. Country music has, in fact, been associated with the screen since movies could first talk, from Jimmie Rodgers' 1929 movie short The Singing Brakeman through thousands of singing cowboy movies to the national television exposure that culminated in Hee Haw.
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6

Willett, Ralph. "Country Music, USA." Popular Music 6, no. 1 (January 1987): 123. http://dx.doi.org/10.1017/s0261143000006760.

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7

Gibson. "International Country Music." Journal of American Folklore 127, no. 504 (2014): 236. http://dx.doi.org/10.5406/jamerfolk.127.504.0236.

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8

Jocelyn R. Neal. "Country Music Stars." Southern Cultures 15, no. 3 (2009): 70–74. http://dx.doi.org/10.1353/scu.0.0063.

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9

Cusic, Don. "Country Green: The Money in Country Music." South Atlantic Quarterly 94, no. 1 (January 1, 1995): 231–41. http://dx.doi.org/10.1215/00382876-94-1-231.

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10

Sartwell, Crispin. "Confucius and Country Music." Philosophy East and West 43, no. 2 (April 1993): 243. http://dx.doi.org/10.2307/1399615.

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11

Stimeling, Travis D., Charles K. Wolfe, and James E. Akenson. "Country Music Annual 2000." American Music 23, no. 3 (2005): 398. http://dx.doi.org/10.2307/4153061.

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12

Pittelman, Karen. "You're My Country Music." Journal of Popular Music Studies 32, no. 2 (June 1, 2020): 11–17. http://dx.doi.org/10.1525/jpms.2020.32.2.11.

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13

Hayes, John. "Religion and Country Music." Religion Compass 4, no. 4 (April 2010): 245–52. http://dx.doi.org/10.1111/j.1749-8171.2009.00209.x.

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14

Marshall, Wayne. "Ragtime Country." Journal of Popular Music Studies 32, no. 2 (June 1, 2020): 50–62. http://dx.doi.org/10.1525/jpms.2020.32.2.50.

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In 1955, Elvis Presley and Ray Charles each stormed the pop charts with songs employing the same propulsive rhythm. Both would soon be hailed as rock 'n' roll stars, but today the two songs would likely be described as quintessential examples, respectively, of rockabilly and soul. While seeming by the mid-50s to issue from different cultural universes mapping neatly onto Jim Crow apartheid, their parallel polyrhythms point to a revealing common root: ragtime. Coming to prominence via Maple Leaf Rag (1899) and other ragtime best-sellers, the rhythm in question is exceedingly rare in the Caribbean compared to variations on its triple-duple cousins, such as the Cuban clave. Instead, it offers a distinctive, U.S.-based instantiation of Afrodiasporic aesthetics—one which, for all its remarkable presence across myriad music scenes and eras, has received little attention as an African-American “rhythmic key” that has proven utterly key to the history of American popular music, not least for the sound and story of country. Tracing this particular rhythm reveals how musical figures once clearly heard and marketed as African-American inventions have been absorbed by, foregrounded in, and whitened by country music while they persist in myriad forms of black music in the century since ragtime reigned.
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15

Tallmadge, William H., Charles K. Wolfe, and Ivan M. Tribe. "Kentucky Country: Folk and Country Music of Kentucky." American Music 4, no. 2 (1986): 208. http://dx.doi.org/10.2307/3051983.

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16

Hill, Jeremy. "“Country Music Is Wherever the Soul of a Country Music Fan Is”: Opryland U.S.A. and the Importance of Home in Country Music." Southern Cultures 17, no. 4 (2011): 92–111. http://dx.doi.org/10.1353/scu.2011.0064.

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17

Erraught, Stan. "The country and Irish problem." Popular Music 39, no. 3-4 (December 2020): 568–84. http://dx.doi.org/10.1017/s0261143020000550.

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AbstractCountry music has been popular in Ireland since the 1960s, most notably in the work of homegrown performers. Despite the durability of this appeal in the face of huge changes in Ireland and in the Irish music industry over a half-century, it remains curiously underexamined in the literature on Irish popular music. In this paper, I wish to argue the following: (1)Country music did not simply arise ‘naturally’ in Ireland as a reflection of musical or national characteristics: it was promoted as such.(2)Both popular and academic literature on the subject have tended to unreflectively echo the narrative that was introduced alongside the music in order to fix its audience.(3)In so doing, the literature reproduces a set of anxieties about modernity as it arrived in Ireland, about the postcolonial condition and about authenticity, even as it attempts to locate Irish popular music within these concerns.
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18

Fox, Aaron A., and Richard A. Peterson. "Creating Country Music: Fabricating Authenticity." Notes 55, no. 1 (September 1998): 127. http://dx.doi.org/10.2307/900378.

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19

Snipes, Jeffrey B., and Edward R. Maguire. "Country Music, Suicide, and Spuriousness." Social Forces 74, no. 1 (September 1995): 327. http://dx.doi.org/10.2307/2580635.

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20

Vandermeer, Philip, and Richard A. Peterson. "Creating Country Music: Fabricating Authenticity." American Music 16, no. 4 (1998): 477. http://dx.doi.org/10.2307/3052290.

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21

Malone, Bill C. "The Comprehensive Country Music Encyclopedia." Journal of Southern History 62, no. 4 (November 1996): 851. http://dx.doi.org/10.2307/2211198.

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22

Jenson, Jolie, Charles K. Wolfe, and James E. Akenson. "Country Music Goes to War." Journal of Southern History 72, no. 2 (May 1, 2006): 506. http://dx.doi.org/10.2307/27649129.

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23

Sentilles, Renee M., and Richard A. Peterson. "Creating Country Music: Fabricating Authenticity." Western Historical Quarterly 29, no. 4 (1998): 530. http://dx.doi.org/10.2307/970417.

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24

Peddie, Ian. "Rednecks, Queers, and Country Music." Popular Music and Society 38, no. 2 (October 15, 2014): 261–63. http://dx.doi.org/10.1080/03007766.2014.966468.

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25

Thompson, Stephen I. "American country music in Japan." Popular Music and Society 16, no. 3 (September 1992): 31–38. http://dx.doi.org/10.1080/03007769208591485.

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26

Cusic, Don. "QWERTY, Nashville, and country music." Popular Music and Society 18, no. 4 (December 1994): 41–55. http://dx.doi.org/10.1080/03007769408591571.

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27

Roberts, Robin. "Independence Day.Feminist country music videos." Popular Music and Society 20, no. 1 (March 1996): 135–54. http://dx.doi.org/10.1080/03007769608591615.

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28

Schlottermuller, Uwe, and Walter Fuchs. "Das Buch der Country Music." Jahrbuch für Volksliedforschung 36 (1991): 175. http://dx.doi.org/10.2307/847682.

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29

Hubbs, Nadine. "Country Music in Dangerous Times." Journal of Popular Music Studies 30, no. 1-2 (March 1, 2018): 15–26. http://dx.doi.org/10.1525/jpms.2018.000012.

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30

Cusic, Don. "Latin America and Country Music." Journal of Popular Culture 33, no. 3 (December 1999): 39–47. http://dx.doi.org/10.1111/j.0022-3840.1999.3303_39.x.

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31

Sacks, Howard L., and Richard A. Peterson. "Creating Country Music: Fabricating Authenticity." Social Forces 77, no. 3 (March 1999): 1237. http://dx.doi.org/10.2307/3006001.

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32

Seemann, Charlie, and Bill C. Malone. "Country Music, U. S. A." Journal of American Folklore 99, no. 393 (July 1986): 356. http://dx.doi.org/10.2307/540834.

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33

Cohen, Norm. "Country and Western Music Reissues." Journal of American Folklore 99, no. 393 (July 1986): 370. http://dx.doi.org/10.2307/540843.

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34

Ruff, Joseph C., and Richard A. Peterson. "Creating Country Music: Fabricating Authenticity." Journal of American Folklore 112, no. 443 (1999): 91. http://dx.doi.org/10.2307/541408.

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35

Cohen, Norm. "Hillbilly, Country, and Bluegrass Music." Journal of American Folklore 103, no. 409 (July 1990): 336. http://dx.doi.org/10.2307/541514.

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36

Griswold, Wendy, and Richard A. Peterson. "Creating Country Music: Fabricating Authenticity." Contemporary Sociology 27, no. 3 (May 1998): 274. http://dx.doi.org/10.2307/2655193.

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37

Vignola, Patricia. "Baseball and Country Music (review)." NINE: A Journal of Baseball History and Culture 13, no. 2 (2005): 169–272. http://dx.doi.org/10.1353/nin.2005.0027.

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38

Snipes, J. B., and E. R. Maguire. "Country Music, Suicide, and Spuriousness." Social Forces 74, no. 1 (September 1, 1995): 327–29. http://dx.doi.org/10.1093/sf/74.1.327.

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39

Whisnant, David E., and Bill C. Malone. "Country Music, U. S. A." Journal of Southern History 52, no. 3 (August 1986): 483. http://dx.doi.org/10.2307/2209604.

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40

Hubbs, Nadine. "Is Country Music Quintessentially American?" American Music 40, no. 4 (December 1, 2022): 505–10. http://dx.doi.org/10.5406/19452349.40.4.14.

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41

Werner, Valentin, and Anna Ledermann. "Styling Authenticity in Country Music." Languages 9, no. 5 (May 6, 2024): 168. http://dx.doi.org/10.3390/languages9050168.

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Country music has become commercially successful both in the US and worldwide. It is perceived as a genre that values authenticity, which may be reflected in the choice of linguistic features, with (White) Southern American English (SAE) serving as the “default” variety. Given the recent diversification of the genre, the question arises whether the use of SAE features is still considered obligatory as a kind of “supralocal norm”. This study compared the lyrics of 600 highly successful songs by male and female artists from White Southern, Black Southern, and White non-Southern backgrounds. The aim was to test (i) whether morphosyntactic SAE features are used to index authenticity in the sense of having become enregistered for this music genre and (ii) whether non-Southerners engage in the styling of relevant markers. It emerged that non-Southerners use more of these features than their Southern counterparts, providing preliminary evidence for “genre fitting” as a means of indexing authenticity. However, there is only one marker that qualifies as a core Country feature used across all artist groups, namely negative concord. As this item arguably is better categorized as vernacular universal, SAE morphosyntax appears to have largely lost its indexical function in Country, while accent features are still vital to establishing cultural authenticity.
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42

Nagatomi, Mari. "Remapping Country Music in the Pacific." Journal of Popular Music Studies 32, no. 2 (June 1, 2020): 162–77. http://dx.doi.org/10.1525/jpms.2020.32.2.162.

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Studies that introduced country musicians outside the US have expanded our views on the creators of American country music. They have, however, reinforced our notion that non-US country musicians merely imitate the American “original.” More recent studies have advanced the field by asking how non-US actors use country music to manipulate the borders between their countries and the US by playing country music. Yet they emphasize that non-US actors exclusively encounter US culture through country music. This paper pushes the field forward to mapping country music onto post-war Japan, locating it within a Japanese domestic context, and showing how non-US actors used country to control the ideological context created there. By doing so, it rejects the common perception that the Japanese merely imitated the “authentic” American country music. Japanese men enjoyed American country music not simply because it was American, but precisely because they could make it their own. This paper examines why certain male musicians played country music as they recovered from defeat in World War II between 1945 and the mid-1950s. To do so, it illustrates how men—country musicians and their critics alike—performed and discussed country music during this period. Ultimately, this paper argues that country musicians played country to embody an alternative masculinity that could serve as both a deviation and critique of the expectations and direction of mainstream Japanese society.
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43

Laird, Tracey E. W. "Country Music: A Biographical Dictionary, and: Country Music Sources: A Biblio-Discography of Commercially Recorded Traditional Music (review)." Notes 60, no. 2 (2003): 443–46. http://dx.doi.org/10.1353/not.2003.0156.

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44

Lum, Chee-Hoo. "My country, my music: Imagined nostalgia and the crisis of identity in a time of globalization." International Journal of Music Education 35, no. 1 (June 23, 2016): 47–59. http://dx.doi.org/10.1177/0255761415619425.

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This qualitative research study seeks to examine definitions of Singapore music, music by Singapore composers and musics of/in Singapore through the eyes of tertiary music educators in a local institute of teacher education, and to determine pedagogical implications of such definitions in the space of the music classroom. Extensive informal interviews with seven tertiary music educators (key informants) serve as the methodological base for this phenomenological study. Findings suggest that music educators should give focus to the historical, socio-cultural and musical characteristics of the lived and living musical practices that comprise Singapore while being cognizant of contradictions brought forth by recent migratory flows and the emergence of a global city identity.
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45

Mack, Kimberly. "She's A Country Girl All Right." Journal of Popular Music Studies 32, no. 2 (June 1, 2020): 144–61. http://dx.doi.org/10.1525/jpms.2020.32.2.144.

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Classically trained vocalist, songwriter, multi-instrumentalist, and 2017 MacArthur “Genius” Fellow Rhiannon Giddens has in recent years enjoyed increased visibility in the contemporary country music world. In 2016, she was a featured singer on Eric Church's top-ten country hit, “Kill a Word,” and she won the Steve Martin Prize for Excellence in Banjo and Bluegrass that same year. Giddens also had a recurring role as social worker Hanna Lee “Hallie” Jordan on the long-running musical drama Nashville in 2017 and 2018. While Giddens now enjoys a certain degree of acceptance in the country music world, she has not always felt included in the various largely white, contemporary American roots scenes. As such, she continues to speak out to audiences and the press about the erasure of African Americans from histories of string music, bluegrass, country, and other styles and forms of American roots music. Using Giddens's 2017 International Bluegrass Music Association (IBMA) keynote, and the Carolina Chocolate Drops' music video for the song “Country Girl” from 2012's Leaving Eden, I demonstrate that Giddens effectively reclaims American old-time string music and country culture as black, subverting historically inaccurate racialized notions of country music authenticity.
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46

Jones-Bamman, Richard, Charles K. Wolfe, Ivan Tribe, Joe Carr, and Alan Munde. "Kentucky Country." Yearbook for Traditional Music 30 (1998): 137. http://dx.doi.org/10.2307/768559.

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47

Easton, Steacy. "Country Canon." Journal of Popular Music Studies 33, no. 3 (September 1, 2021): 22–25. http://dx.doi.org/10.1525/jpms.2021.33.3.22.

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48

Smith, Richard Langham. "Country Matters." Musical Times 136, no. 1825 (March 1995): 124. http://dx.doi.org/10.2307/1003998.

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49

Bates, Vincent C., Jason B. Gossett, and Travis Stimeling. "Country Music Education for Diverse and Inclusive Music Classrooms." Music Educators Journal 107, no. 2 (December 2020): 28–34. http://dx.doi.org/10.1177/0027432120956386.

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Despite its rich heritage and enduring popularity, country music has historically been marginalized in American music education, usually in favor of more “high-brow” musical practices. This article explores potential explanations for this imbalance within the context of a general overview of cultural and social considerations and implications related to this important American art form. Finally, we outline practical steps that music teachers can take toward more inclusive and diverse approaches to music teaching and learning to include country music critically and as appropriate to meet students’ needs and interests. These steps include applications within current approaches to band, orchestra, choir, general music, songwriting, and guitar.
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50

Keil, Charles. "‘Ethnic’ music traditions in the USA (black music; country music; others; all)." Popular Music 13, no. 2 (May 1994): 175–78. http://dx.doi.org/10.1017/s0261143000007030.

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This is a brief meditation on ethnicity as a source of all powerful musical styles, as a kind of curse in the contemporary world of nation states, and as an ever more complex puzzle for every student of popular music to solve.
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