Worlds of Sound: The Story of Smithsonian Folkways by Richard Carlin

By Richard Carlin

A guy, a microphone, and a dream

When he opened his tiny recording studio in big apple in 1940, Moses Asch had a larger-than-life dream: To record and checklist all of the sounds of his time. He created Folkways documents to accomplish his target, not only a list label yet a press release that every one sounds are equivalent and each voice merits to be heard. The Folkways catalog grew to incorporate a myriad of voices, from international- and roots-music to political speeches; the voices of latest poets and steam engines; folks singers Lead abdominal and Woody Guthrie and jazz pianists Mary Lou Williams and James P. Johnson; Haitian vodoun singers and Javanese courtroom musicians; deep-sea sounds and sounds from the outer ring of Earth's surroundings. until eventually his demise in 1986, Asch—with assistance from collaborators starting from the eccentric visionary Harry Smith to educational musicologists—created greater than 2000 albums, a sound-scape of the modern international nonetheless unrivaled in breadth and scope. Worlds of Sound records this unbelievable trip. alongside the best way you'll meet:

A younger Pete Seeger, revolutionizing the area together with his five-string banjo
the superb vocal ensembles of the Ituri Pygmies
North American tree frogs
Ella Jenkins's children's music
Lead stomach making a song "The nighttime Special"
The nueva canciÓn of Suni Paz.

Folkways grew to become part of the Smithsonian Institution's collections presently after Asch's dying. this day Smithsonian Folkways keeps to make the "worlds of sound" Moe Asch first dreamed of 60 years in the past on hand to all. The Folkways imaginative and prescient is expansive and all-inclusive, and Worlds of Sound advances its wealthy and energetic spirit.

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Extra info for Worlds of Sound: The Story of Smithsonian Folkways

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Were certainly familiar with each other’s works. Both wrote waltzes for the Concordia Ball in 1863 and Strauss Jr. 37 However, no evidence remains to support the hypothesis. Another theory is that various Viennese musical figures, specifically the directors of the various theaters, took it upon themselves to influence Strauss Jr. ’s first wife, Henrietta Treffz, who had had a distinguished stage career as an opera singer until her retirement in the late 1840s and was well 24 The Legacy of Johann Strauss acquainted with the repertoire.

S biography: facts and fictions 33 with the revolutionaries, yet biographers believed that his liberal views directly contrasted with his father’s conservative ones. For later biographers, Old and New Vienna were embodied in these figures and their actions in 1848. The juxtaposition between Old and New Vienna was elucidated by Karl Kobald in his 1925 biography. , on the other hand, was characterized by Kobald in different terms: The motto of New Vienna was: live and let live. The substance of its existence: love, enjoyment, beauty, theater, dance, and music … And the great conductor of this luxurious, life-loving New Vienna, its great musical genius, was Johann Strauss Jr.

And his native city; the works were praised because they contained the musical encapsulation of Vienna and its unique culture. ’s pieces do not simply evoke images of the city in their titles, they also do so in the music. Consider, for instance, the zither found in the introduction of Tales from the Vienna Woods, an authentic instrument from the region incorporated into the piece. 42 More often, though, his ability to capture his city in music was less tangible, as can be seen in this description of his works from Karl Kobald’s 1925 biography: And even today, when an Austrian, Viennese, anywhere in the wide world hears Strauss’s wonderful, jovial melodies, he is afflicted by a deep homesickness, he laughs and cries, and in his mind appears the beautiful image of the beloved city on the Danube, the silhouette of the Stephansdom, of Kahlenberg, Schönbrunn Palace that in their blossoming, still gardens and hills surround the “beautiful blue Danube …”43 This passage paints a picture of Vienna by invoking several of its best-known locales.

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