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FW: Announcing: H-Southern-Music

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  • Amos J Wright
    Fyi... ajwright@uab.edu ... From: H-NET Distribution List for News and Announcements [mailto:H-ANNOUNCE@H-NET.MSU.EDU] On Behalf Of H-Net Announcements Sent:
    Message 1 of 1 , Nov 2 7:24 AM
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      Fyi... ajwright@...

      -----Original Message-----
      From: H-NET Distribution List for News and Announcements
      [mailto:H-ANNOUNCE@...] On Behalf Of H-Net Announcements
      Sent: Tuesday, November 01, 2005 2:13 PM
      To: H-ANNOUNCE@...
      Subject: Announcing: H-Southern-Music

      ANNOUNCING H-Southern-Music: H-Net Network for Southern Music

      Member of: H-Net: Humanities and Social Sciences Online

      ABOUT H-Southern-Music

      For many observers, music represents one of the most identifiable
      characteristics of the American South. Indeed, there is little doubt
      that music has provided one of the region's greatest contributions to
      national and world culture. The primary purpose of H-Southern Music is
      to provide a forum for exploring and discussing the historical nature of
      those contributions. Musical fields under consideration range from
      Spirituals, Blues, Jazz, Country, Cajun, Tejano, and Gospel to Western
      Swing, Bluegrass, Zydeco, Rhythm and Blues, Rockabilly, Soul, and every
      genre and subgenre in between. The various musical styles and categories
      associated with the region, of course, are all separate and distinctive
      in their own right. Yet viewing them through a lens which recognizes
      their interrelatedness provides for a better understanding of the larger
      regional culture from which they emerged.

      The creators of this list have spent much of their academic careers
      contemplating music's relationship to the people and cultures that
      produced it. While none would ever propose that musical expression has
      been limited to Dixie's natives, they also understand the distinctive
      role music has played for those who have resided below the Mason-Dixon
      Line. They understand that to appreciate fully how the majority of
      southerners worked, played, and worshipped, loved, laughed and cried,
      celebrated, mourned, lived, and died, it is necessary to integrate
      issues relating to music into the discussion. They have and are still
      endeavoring to demonstrate that any examination of the South and its
      people that seeks to be complete must acknowledge the active presence of

      Paradoxically, "southern" music does not necessarily refer to a specific
      geographic area. It also alludes to the music's larger cultural
      dimensions. Southern migrants, black and white, in migrating to distant
      locations such as Chicago, California, Detroit, or New York, generally
      retained (even over generations) aspects of their regional culture. The
      baggage they brought with them and imparted to others included music. In
      addition, non-southerners unfamiliar with the region have often
      "understood" Dixie through the imagery contained within songs and
      personified by popular performers. Music has thus played a role in
      addressing realities and shaping perceptions that is far from trivial.
      Accordingly, the goal of H-Southern Music is to connect past forms of
      musical expression to the larger (and often conflicted) social,
      cultural, artistic, commercial, political, and historical environments
      from which they sprang.

      H-Southern Music's edited discussion list and website are primarily
      designed for scholars, researchers, and teachers. They are open to all
      methodological and theoretical approaches, and encourage lively,
      informed, and professional dialogue. Discussions may include current
      research and research interests; methods and tools of analysis; reviews
      of literature, compact discs, films, and exhibits devoted to aspects of
      the southern musical past; calls for papers; information on conferences,
      grants, fellowships, and Internet resources relevant to music and music
      history scholarship. Above all, H-Southern Music is a forum for
      exploring the approaches, methods, and tools that will ultimately help
      to incorporate issues relating to music into the traditional narratives
      recognized as southern and American history.

      Like all H-Net lists, H-Southern-Music is moderated to edit out material
      that, in the editors' opinion, is not germane to the list, involves
      technical matters (such as subscription management requests), is
      inflammatory, or violates evolving, yet common, standards of Internet
      etiquette. H-Net's procedure for resolving disputes over list editorial
      practices is Article II, Section 2.20 of our bylaws, located at:


      H-Southern-Music is currently edited by Michael Bertrand, Gavin
      Campbell, Paul Fischer, Michael Gray, Patrick Huber, Kristine McCusker,
      James Salem, qand Diane Pecknold.

      Logs and more information can also be located at:


      To join H-Southern-Music, please send a message from the account
      where you wish to receive mail, to:


      (with no signatures or styled text, word wrap off for long lines) and
      only this text:

      sub H-Southern-Music firstname lastname, institution
      Example: sub H-Southern-Music Leslie Jones, Pacific State U

      Alternatively, you may go to http://www.h-net.org/lists/subscribe.cgi to
      perform the same function as noted above.

      Follow the instructions you receive by return mail. If you have
      questions or experience difficulties in attempting to subscribe, please
      send a message to:


      H-Net is an international network of scholars in the humanities and
      social sciences that creates and coordinates electronic networks, using
      a variety of media, and with a common objective of advancing humanities
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