"Are My Songs Literature?": a Postmodern Appraisal of Bob Dylan\u27s American Popular Music Culture

The current study is a postmodern appraisal of Bob Dylan\u27s artistic career and vocal gestures to examine the way melody in popular music works in relation to speech and singing, the grand and the ordinary. It historicizes Bob Dylan\u27s protest music of the 1960s within the paradigm of folk music culture. Dylan\u27s music is full of riffs, blues sequences, and pentatonic melodies—all heavily part and parcel of blues, folk, gospel, and country music. It is the music that dwells on the pleasures of repetition, of circularity, and of the recurring familiar tune integrated within Dylanesque poetics of rhyme delivered with his idiosyncratic, deep and intense range of voices. Dylan is the official son of the legacies of social, communal, and ritual music-making that mirrors contemporary pop and rock back to folk and blues, street-sung broadsides and work songs, the melodies of medieval troubadours, and the blessed rhythms of Christianity and Judaism. The study is an attempt to illustrate how musicology and ethnomusicology in particular can contribute to understanding Dylan as a ‘performing artist\u27 within the postmodern paradigm. Thus, the study seeks to establish Dylan as a phenomenal, prolific postmodernist artist, as well as an anarchist. The power and originality of Dylan\u27s music constitute a prima facie case that his performances should be considered postmodernist art

"Are My Songs Literature?": A Postmodern Appraisal of Bob Dylan's American Popular Music Culture

The current study is a postmodern appraisal of Bob Dylan’s artistic career and vocal gestures to examine the way melody in popular music works in relation to speech and singing, the grand and the ordinary. It historicizes Bob Dylan’s protest music of the 1960s within the paradigm of folk music culture. Dylan’s music is full of riffs, blues sequences, and pentatonic melodies—all heavily part and parcel of blues, folk, gospel, and country music. It is the music that dwells on the pleasures of repetition, of circularity, and of the recurring familiar tune integrated within Dylanesque poetics of rhyme delivered with his idiosyncratic, deep and intense range of voices. Dylan is the official son of the legacies of social, communal, and ritual music-making that mirrors contemporary pop and rock back to folk and blues, street-sung broadsides and work songs, the melodies of medieval troubadours, and the blessed rhythms of Christianity and Judaism. The study is an attempt to illustrate how musicology and ethnomusicology in particular can contribute to understanding Dylan as a ‘performing artist’ within the postmodern paradigm. Thus, the study seeks to establish Dylan as a phenomenal, prolific postmodernist artist, as well as an anarchist. The power and originality of Dylan’s music constitute a prima facie case that his performances should be considered postmodernist art

The Lantern, Chester S.C.- July 24, 1908

The collection consists of individual issues of The Lantern a newspaper printed in Chester, South Carolina from 1897 until 1913. The editor was J. T. Bigham. This issue, scanned from microfilm, is date July 24, 1908 (volume XI, number 83)https://digitalcommons.winthrop.edu/chesterlantern1908/1057/thumbnail.jp

Bob Dylan

In this study Keith Negus takes issue with those authors who treat Bob Dylan as a poet and who obsess over his lyrics on the page, and instead treats him first and foremost as a musician and his songs as music – the words sounds, rhythms and tunes in the air. This book explores those dimensions of Dylan songs that are so readily apparent to listeners but which have received little attention, stressing the importance of Dylan’s melodies, rhythms, instrumental textures, and the musicality of his performing voice. The book explores the way Dylan musical sensibility has been shaped by blues and folk ballad traditions, his songs quite often deliberately constructed from existing elements. Although appreciated according to the criteria of rock criticism with its emphasis on the apparent originality of musicians who write their own songs, this book emphasises how Dylan has always followed a songwriting philosophy drawn from folk music, working with and re-using existing songs, forms and styles. Dylan has created a unique performing identity by intensely personalising borrowed musical and lyrical phrases, the tunes and riffs. Negus stresses how performance is central to Dylan’s life as a musician and songwriter, indicating the way Dylan has created distinct musical textures through his arrangements and productions on studio recordings, as well as detailing the way Dylan has treated his songs as continually open to change and re-arrangement in live shows

Message of Governor Cole L. Blease to the General Assembly of South Carolina : extra session, commencing October 6th, 1914

Document includes message from Governor Cole L. Blease at the extra session commencing October 6th, 1914. Document also includes speeches the Governor made in Walterboro and St. Matthews, letters, and an interview on issuing proclamation for extra session