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Preface | |
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The Folk Ballad: Storytelling in Song | |
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Form Follows Function: the Anglo-American Folk Ballad | |
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Folk Song Collectors and Ballad Scholars: Outsiders Look in | |
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Ballad Stories and the Oral Tradition | |
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The Broadside Ballad: Journalism in Song | |
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New Country, New Ballads (and a Lot of Old Ones, Too) | |
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Folk Ballads and Popular Culture | |
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The African-American Narrative Song Tradition | |
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Corridos: Spanish Ballads in the New World | |
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Woody Guthrie: Father of the Modern Folk Ballad | |
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Protest and Propaganda | |
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Hootenannies and the Hit Parade | |
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The Folk Revival of the Sixties | |
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Activities and Projects | |
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In the Beginning ... There Was the Blues | |
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The Birth of the Blues | |
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The Country Blues: A Regional Guide | |
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Blues Lyrics and Themes | |
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The Classic Blues: Women in the Spotlight | |
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Race Records | |
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Enter Bessie Smith and Ma: Blues Royalty on Records | |
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Field Recording: Country Blues on Location | |
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Blues in the 1930s: Out With the Old, In With the New | |
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Muddy Waters and the Birth of the Big City Blues | |
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Pioneers of Electricity | |
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The Blues Had a Baby and They Named it Rock 'n' Roll | |
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Activities and Projects | |
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Jazz: The Sound of a New Century | |
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New Orleans: Birthplace of Jazz | |
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Buddy Bolden: First Man of Jazz | |
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1917: Jazz on Record and on the Move | |
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The Jazz Age: Putting the Sin in Syncopation | |
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The Swing Era: Setting the Stage | |
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Benny Goodman: King of Swing | |
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Duke Ellington: It Don't Mean a Thing if It Ain't Got that Swing | |
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Count Basie: Last of the Blue Devils | |
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Lady Day | |
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The Bebop Revolution | |
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Changes on the Street | |
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Jazz at Mid-Century: Diversity and Divisiveness | |
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The Avant Garde: Out of the Mainstream | |
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Fusion: Jazz Plugs In | |
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Back to the Future: Whynton Marsalis and Neomainstream Jazz | |
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Activities and Projects | |
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R and B, Rockabilly, Rock 'n' Roll and Rock | |
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Hail, Hail Rock 'n' Roll | |
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Elvis Presley: Enter the King | |
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The Death of Rock 'n' Roll: Myth and Reality | |
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The Motown Empire: Hitsville, U.S.A. | |
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Atlantic Records and the Story of Soul | |
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Stax Records: Soulsville, U.S.A. | |
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Aretha Franklin: The Queen of Soul | |
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James Brown: Godfather of Soul | |
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The Tami Show: Celluloid Time Capsule (In Black and White) | |
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The British Are Coming ... | |
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The Folk Revival: Music With a Social Conscience | |
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From Rock 'n' Roll to Rock | |
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High Art/Big Business | |
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Supergroups and Guitar Heroes | |
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Woodstock Nation: Three Days of Peace and Music | |
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Activities and Projects | |
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Rock: From the Me Decade to the Millennium | |
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The Seventies: The Rise of Corporate Rock | |
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Heavy Metal: The Devil and the Power Chord | |
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The Singer-Songwriter: Poet Laureate of the Me Decade | |
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Art Rock: No Longer a Contradiction in Terms | |
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Black Music in the Seventies: Many Nations Under a Groove | |
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Rock at Mid-Decade: From the Mainstream to the Margins | |
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Disco Fever | |
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The Eighties and the Triumph of Pop | |
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Girls Just Want to Have Fun | |
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Metal Health in the 1990s | |
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Alternative to What? | |
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Rockin' at the End of the Millennium | |
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Activities and Projects | |
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Rap: Talking Drum of the Global Village | |
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To the Hip-Hop | |
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Everybody's Rapping: From Rhythm to Rhyme | |
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Rap on Wax: The First Generation | |
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Hip-Hop Nation: Into the Mainstream | |
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Gangsta Rap: Street Journalism or Action-Film Fantasy? | |
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Rap Goes Pop | |
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Rap Goes Co-Ed | |
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Rap at the Millennium: Funerals and Fragmentation | |
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Activities and Projects | |
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Sound Sources | |
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Bibliography | |
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Glossary | |
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Index | |