Conway Cecelia (45 results)

paperback. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

Paperback. Condition: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Condition: good. The book is in good condition with all pages and cover intact, including the dust jacket if originally issued. The spine may show light wear. Pages may contain some notes or highlighting, and there might be a "From the library of" label. Boxed set packaging, shrink wrap, or included media like CDs may be missing.

paperback. Condition: very good-. 394 pages; 7 1/2 x 9 1/4" Inked out sticker on spine with clear tape over it; plastic laminate over covers; library stamping and the usual markings on a few pages; sticker and pocket glued to inside rear cover.

Condition: New. Brand New.

Paperback. Condition: Like New. This copy is LIKE NEW; the text is clear, bright, and unmarked, but slightest shelf wear on edges; binding is tight. The covers also fine: absolutely intact in all ways, including perfect color and design. We have a five star rating because of our fulfilment success and because our descriptions are accurate. On foreign sales, because of the heavy weight of this book, we have to charge extra for shipping: however, we will only charge the difference between our regular shipping rate and the extra charge that the U.S.Post Office asks to ship the book. We guarantee: NO NASTY SURPRISES.

Condition: New.

Paperback or Softback. Condition: New. African Banjo Echoes in Appalachia: Study Folk Traditions. Book.

Soft Cover. Condition: Very Good with no dust jacket. Square, tight volume with clean and bright pages. Wrappers show minor edge rubbing. Contents: Conway, Mountain echoes of the African banjo. Williams, Unpacking Pinckney in Poland. Hurley, The low-down on a high place: family matters in Heathen Valley. AppalJ interview: Daniel Boyd. Regular columns, reviews. ; 10.5" (26 cm) tall; 92 pages.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: As New. Unread book in perfect condition.

Paperback. Condition: New. Throughout the Upland South, the  banjo has become an emblem of white mountain folk, who are generally credited with creating the short-thumb-string banjo, developing its downstroking playing styles and repertory, and spreading its influence to the national consciousness. In this groundbreaking study, however, Cecelia Conway demonstrates that these European Americans borrowed the banjo from African Americans and adapted it to their own musical culture. Like many aspects of the African-American tradition, the influence of black banjo music has been largely unrecorded and nearly forgotten-until now. Drawing in part on interviews with elderly African-American banjo players from the Piedmont-among the last American representatives of an African banjo-playing tradition that spans several centuries-Conway reaches beyond the written records to reveal the similarity of pre-blues black banjo lyric patterns, improvisational playing styles, and the accompanying singing and dance movements to traditional West African music performances. The author then shows how Africans had, by the mid-eighteenth century, transformed the lyrical music of the gourd banjo as they dealt with the experience of slavery in America. By the mid-nineteenth century, white southern musicians were learning the banjo playing styles of their African-American mentors and had soon created or popularized a five-string, wooden-rim banjo. Some of these white banjo players remained in the mountain hollows, but others dispersed banjo music to distant musicians and the American public through popular minstrel shows. By the turn of the century, traditional black and white musicians still shared banjo playing, and Conway shows that this exchange gave rise to a distinct and complex new genre-the banjo song. Soon, however, black banjo players put down their banjos, set their songs with increasingly assertive commentary to the guitar, and left the banjo and its story to white musicians. But the banjo still echoed at the crossroads between the West African griots, the traveling country guitar bluesmen, the banjo players of the old-time southern string bands, and eventually the bluegrass bands.The Author: Cecelia Conway is associate professor of English at Appalachian State University. She is a folklorist who teaches twentieth-century literature, including cultural perspectives, southern literature, and film.

Paperback. Condition: New. Throughout the Upland South, the  banjo has become an emblem of white mountain folk, who are generally credited with creating the short-thumb-string banjo, developing its downstroking playing styles and repertory, and spreading its influence to the national consciousness. In this groundbreaking study, however, Cecelia Conway demonstrates that these European Americans borrowed the banjo from African Americans and adapted it to their own musical culture. Like many aspects of the African-American tradition, the influence of black banjo music has been largely unrecorded and nearly forgotten-until now. Drawing in part on interviews with elderly African-American banjo players from the Piedmont-among the last American representatives of an African banjo-playing tradition that spans several centuries-Conway reaches beyond the written records to reveal the similarity of pre-blues black banjo lyric patterns, improvisational playing styles, and the accompanying singing and dance movements to traditional West African music performances. The author then shows how Africans had, by the mid-eighteenth century, transformed the lyrical music of the gourd banjo as they dealt with the experience of slavery in America. By the mid-nineteenth century, white southern musicians were learning the banjo playing styles of their African-American mentors and had soon created or popularized a five-string, wooden-rim banjo. Some of these white banjo players remained in the mountain hollows, but others dispersed banjo music to distant musicians and the American public through popular minstrel shows. By the turn of the century, traditional black and white musicians still shared banjo playing, and Conway shows that this exchange gave rise to a distinct and complex new genre-the banjo song. Soon, however, black banjo players put down their banjos, set their songs with increasingly assertive commentary to the guitar, and left the banjo and its story to white musicians. But the banjo still echoed at the crossroads between the West African griots, the traveling country guitar bluesmen, the banjo players of the old-time southern string bands, and eventually the bluegrass bands.The Author: Cecelia Conway is associate professor of English at Appalachian State University. She is a folklorist who teaches twentieth-century literature, including cultural perspectives, southern literature, and film.

Condition: New.

Condition: As New. Unread book in perfect condition.

Paperback / softback. Condition: New. New copy - Usually dispatched within 4 working days.

Paperback. Condition: Brand New. 394 pages. 9.50x7.75x1.00 inches. In Stock.

Softcover. Condition: Fine. First edition. 394pp. Illustrated in black and white. Glossy pictorial wrappers. Tiny crease on front cover, else fine.

PAP. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Paperback. Condition: New. Throughout the Upland South, the  banjo has become an emblem of white mountain folk, who are generally credited with creating the short-thumb-string banjo, developing its downstroking playing styles and repertory, and spreading its influence to the national consciousness. In this groundbreaking study, however, Cecelia Conway demonstrates that these European Americans borrowed the banjo from African Americans and adapted it to their own musical culture. Like many aspects of the African-American tradition, the influence of black banjo music has been largely unrecorded and nearly forgotten-until now. Drawing in part on interviews with elderly African-American banjo players from the Piedmont-among the last American representatives of an African banjo-playing tradition that spans several centuries-Conway reaches beyond the written records to reveal the similarity of pre-blues black banjo lyric patterns, improvisational playing styles, and the accompanying singing and dance movements to traditional West African music performances. The author then shows how Africans had, by the mid-eighteenth century, transformed the lyrical music of the gourd banjo as they dealt with the experience of slavery in America. By the mid-nineteenth century, white southern musicians were learning the banjo playing styles of their African-American mentors and had soon created or popularized a five-string, wooden-rim banjo. Some of these white banjo players remained in the mountain hollows, but others dispersed banjo music to distant musicians and the American public through popular minstrel shows. By the turn of the century, traditional black and white musicians still shared banjo playing, and Conway shows that this exchange gave rise to a distinct and complex new genre-the banjo song. Soon, however, black banjo players put down their banjos, set their songs with increasingly assertive commentary to the guitar, and left the banjo and its story to white musicians. But the banjo still echoed at the crossroads between the West African griots, the traveling country guitar bluesmen, the banjo players of the old-time southern string bands, and eventually the bluegrass bands.The Author: Cecelia Conway is associate professor of English at Appalachian State University. She is a folklorist who teaches twentieth-century literature, including cultural perspectives, southern literature, and film.

paperback. Condition: New. In shrink wrap. Looks like an interesting title!

Kartoniert / Broschiert. Condition: New. &Uumlber den AutorCecelia Conway is associate professor of English at Appalachian State University. She is a folklorist who teaches twentieth-century literature, including cultural perspectives, southern literature, and film.

PAP. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

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