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I Am is a creative thesis in the form of a theatrical play. This play creates a new Appalachian legend based around the Biblical Story of Moses, feminism, and the African Deity Mami Wata.

This is the story of how the music in the Grammy Nominated "Old-Time Smoky Mountain Music" CD was originally recorded and includes historical insights into the language spoken in the Smoky Mountains. An excerpt from "Smokies Life" magazine produced by Great Smoky Mountains Association, official non-profit partner of Great Smoky Mountains National Park. / https://dc.etsu.edu/etsu_books/1165/thumbnail.jpg

Ideas and practices related to sustainability have become more common in academia since the foundation of the Association for the Advancement of Sustainability in Higher Education network and the growing currency of all things "green" in the business, structure, and daily life of higher education. In discussing elements of sustainability that I have incorporated into a course entitled "Ethnomusicology and Appalachia," I show how they are not part of a trend, but are foundational and transformative parts of both Appalachian studies and the study of people making music. Ethnomusicology is based in ideas of “music as culture” and as the study of musical activity, not idealized and autonomous “musical objects” (per Rice). Considering sustainability challenges notions of autonomy, which is crucial to understanding Appalachia's fluid tension (as described by Filene) between "insider" roots and "outsider" pressures. Essential scholarship on regional music-making by Jeff Titon is a model of this kind of integration, both in terms of compassionate and broad consideration of “musical sound” and in the socioaesthetic (per Kisliuk) ramifications of his conclusions. I will conclude my presentation by leading participants on an abbreviated soundwalk (per Westerkamp and Ferrington) to emphasize the importance of integrated and humane consideration in the study of music and Appalachia

Robert Morgan's Nonfiction Books

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Book Summary: From his earliest recordings to his posthumously released albums, the haunting baritone of Waylon Jennings marked him as an extraordinarily individualistic country music artist. This biography by the late R. Serge Denisoff, first published in 1983, recounts Waylon’s west Texas upbringing, his introduction to music as a radio announcer at thirteen years old, his tutelage by rock star Buddy Holly, and his eventual stellar yet stormy music career. Where the original 1983 biography ends, music scholar Travis Stimeling picks up with the waning years of Waylon’s recording and performing. Stimeling recounts in the new afterword Waylon’s continued musical success in the early 1980s—though his financial troubles and battle with drugs and alcohol would soon cost him both professionally and personally—his triumphant and sober return in the 1990s and collaboration with longtime recording artists in the industry, and his continued musical relevance in an evolving industry driven by Nashville’s urban popularization of country music. Additionally, series editor Ted Olson, in his foreword, touches on Waylon’s legacy and the continued influence of his outlaw style of country music. Fans of Waylon, country music, and the Nashville music scene are sure to find this second edition of R. Serge Denisoff’s classic biography a welcome addition to the publications on the father of outlaw country.

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