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THE INTERPLAY OF MUSICAL STYLES
The musicians' choice of material often
confounded the categories that record executives, folklorists, and
musicologists tried to place on them. "Old-time" musicians played
traditional and popular songs, often performing different material for
folklorists and commercial outfits. Many white musicians also learned
and performed music-jazz and blues-that record companies marketed as
"race" music to African American audiences. The development of
railroads and coal-mining in Southwest Virginia brought African
Americans to the region and resulted in a fascinating intersection of
black and white musical styles. Not only did black musicians directly
influence country pioneers such as the Carter Family, but African
American artists such as Carl Martin also played in and recorded with
all-black string bands. White artists in the area reciprocated by
learning and recording blues songs. Ironically, the banjo, an
instrument played by black musicians and a small number of minstrel
performers before the Civil War, became a "cross-over" instrument
afterward and is today almost universally associated in the popular
mind with white country, bluegrass, or old-time artists.
OKeh and other record companies issued "race records,"
aimed at African American audiences, and series of "old time" or
"hillbilly" music.
Courtesy of Recorded Sound Reference Center, Library of Congress.
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All Recordings
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Tarter and Gay, "Unknown
Blues" (Victor 38017), recorded in Bristol, Tennessee, on November
2, 1928. Re-issued on Ragtime Blues Guitar (Document records,
DOCD-5062).
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