Notes
1
An earlier version of this paper was first presented at a seminar entitled ‘Fingerstyle Guitar: 150 years of Musical Tradition and Innovation’ at Middle Tennessee State University, Murfreesboro, 17 February, 1995.
2
On the rarity of the guitar in American folk music before the 1890s, the emergence of guitar-based blues in the Deep South at the turn of the century, and its somewhat later prevalence in the East Coast States, see Epstein (1977); Evans (1982); Bastin (1986); Cohen (1996).
3
For views of the Delta and its music during this period see Cobb (1992) and Lomax (1993).
4
A juke house is a structure designed for music, dancing, drinking, and sometimes other activities such as gambling and prostitution. It can be either a place used exclusively for these purposes or an actual house converted temporarily for them.
5
For more on possible black-Mexican musical interaction see Narvaez (1978).
6
Discographies of this and other recording artists mentioned here are printed in Dixon, Godrich, and Rye (1997).
7
For a survey of African musical instruments in the United States see Evans (1999).

References

Bastin, B. (1986), Red River Blues: The blues tradition in the southeast, Urbana: University of Illinois Press.

Cobb, J.C. (1992), The Most Southern Place on Earth: The Mississippi delta and the roots of regional identity, New York: Oxford University Press.

Cohen, A.M. (1996), ‘The Hands of Blues Guitarists’, American Music, 14: 455– 79.

Conway, C. (1995), African Banjo Echoes in Appalachia: A study of folk traditions, Knoxville: University of Tennessee Press.

Dixon, R.M.W., Godrich, J., and Rye, H.W. (1997), Blues and Gospel Records: 1890–1943, 4th ed., Oxford: Clarendon.

Epstein, D. (1977), Sinful Tunes and Spirituals: Black folk music to the Civil War, Urbana: University of Illinois Press.

Evans, D. (1970), ‘Afro-American One-Stringed Instruments’, Western Folklore, 29: 229–45.

Evans, D. (1971), Tommy Johnson, London: Studio Vista.

Evans, D. (1978a), ‘African Elements in Twentieth-Century United States Black Folk Music’, Jazzforschung, 10: 85–110.

-25-

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Guitar Cultures
Table of contents

Table of contents

  • Contents v
  • Acknowledgements vii
  • Notes on Contributors ix
  • 1 - Introduction: Guitars, Cultures, People and Places 1
  • Notes *
  • References *
  • 2 - The Guitar in the Blues Music of the Deep South 11
  • Notes 25
  • References *
  • 3 - Unplugged: Blues Guitarists and the Myth of Acousticity 27
  • Notes *
  • References *
  • 4 - ‘plug in and Play!’ Uk‘indie-Guitar’ Culture 45
  • Notes *
  • References *
  • 5 - Handmade in Spain: the Culture of Guitar Making 63
  • Notes 82
  • References *
  • 6 - The Guitar as Artifact and Icon: Identity Formation in the Babyboom Generation 89
  • Notes 113
  • References *
  • 7 - Into the Arena: Edward Van Halen and the Cultural Contradictions of the Guitar Hero 117
  • Notes *
  • References *
  • 7 - The Guitar Cultures of Papua New Guinea: Regional, Social and Stylistic Diversity 135
  • Notes 154
  • References *
  • 9 - Hybridity and Segragation in the Guitar Cultures of Brazil 157
  • Notes 174
  • References *
  • 10 - Rock to Raga: the Many Lives of the Indian Guitar 179
  • Notes *
  • References *
  • Index 209
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