Thesis (M.A.)--Indiana University, 1964. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 89-90).

Bluegrass as it is played in the United States today is not simply a resistant category of country music, but performs a particular and emergent view of past/present relations. More than a "micromusic" mediating between "supercultures" and "subcultures" (in Mark Slobin's terms 1993), in fact bluegrass's complex history resists simple top down or bottom up perspectives, articulating a distinct space of authenticity. Active `genre tending' in a jam setting poetically articulates emergent social relations, in a specific spatiotemporal frame, at New York City's The Baggot Inn jam scene, a site of bluegrass performance at which the genre is employed creatively as a way of socializing and articulating contemporary presence. Learning a genre on an individual level is an actively embodied linking of technique and feeling, and differing listening experiences may lead to differing ideas of what a musical text represents. Expressive skill, executed through embodied musical gestures derived from specific pieces of music, may embed personal biography with social history and experience. Successful coperformance of a genre (bluegrass, in this case) requires a dynamic performative flexibility. This flexibility in turn can permanently affect both player and context, though different players may have to work to agree or disagree. These live, face to face interactions which depend on local specifics, maintain the coherence of the wider musical genre that facilitates those very actions themselves.

Thesis (M.A.)--University of Missouri-Columbia, 2003. / Typescript. Includes bibliographical references (leaves 84-91). Also available on the Internet.

Thesis (M.A.)--University of Missouri-Columbia, 2003. / Typescript. Includes bibliographical references (leaves 84-91). Also available on the Internet.

Thesis (Ph. D.)--Indiana University. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 221-233).

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During their long history of Americanism, Czechs have inscribed “real imaginary” elements of Americana on their environment, laying a foundation for the current interest in bluegrass music. Czech articulations of this imagined “Amerika” in translated, newly created, and recontextualized songs reveal a playful ambiguity. Czechs have cultivated bluegrass through a sense of place that contains traces of Americanness, blurring the boundaries between what is American and what is Czech. With humor and hard work, Czech bluegrassers shape a sense of place through their performance of songs in which U.S. music becomes part of the European landscape.

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