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.

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This thesis uses qualitative research methods to elaborate on Ralph Blizard’s legacy in the old-time music community. The aspects of Blizard’s legacy that were examined include his style of fiddling and the actions he took to preserve traditional Appalachian old-time music. This thesis discusses the old-time music revival in the late 20th Century and Blizard’s role in the revival. This thesis used documentary research, archival research, and personal interviews. Documentary and archival research took place at the Ralph Blizard Museum in Blountville, Tennessee, and the Archives of Appalachia at East Tennessee State University. I conducted personal interviews with Blizard’s musical colleagues and members of his family. This thesis shows that Blizard’s legacy in old-time music is defined the actions he took to help preserve the sound of traditional Appalachian old-time music just as much as it is defined by his style of fiddling.

Excerpt: In a recent interview, musician Wynton Marsalis said, “I can’t tell you how many times I’ve suggested to musicians to get The Bristol Sessions—Anglo-American folk music.

The two-finger banjo style languishes as a small footnote in the lexicon of old time banjo music—very important to a passionate (and lucky!) few, but not known by too many others. This research is a starting point to understanding the meaning of two-finger banjo; through a review of primary literature, interviews, witnessing performances, and individual investigation of playing two-finger banjo, I have been able to document some understandings about the style. These understandings informed further appreciation of old time music, the old time music (and banjo) communities, and the art of making music in this way—while describing the journey, I gained insights from scholars, folklorists, musicians, recordings, and made many discoveries that I documented in this thesis. I have concluded that one of the best ways to find meaning in any pursuit is by engaging with your community and connecting yourself to your art.

The Johnson City Sessions were held in Johnson City, Tennessee in October 1928 and October 1929. This work "...marks the first time these recordings have been assembled in any format. Collectively, these 100 songs and tunes are regarded by scholars and record collectors as a strong and distinctive cross-section of old-time Appalachian music just before the Great Depression. The four CDs gather every surviving recording from the sessions, while the accompanying 136-page LP-sized hardcover book contains newly researched essays on the background to the sessions and on the individual artists, with many rare and hitherto unpublished photographs, as well as complete song lyrics and a detailed discography." -- Back cover. Ted Olson (East Tennessee State University) and Tony Russell are the re-issue producers. / https://dc.etsu.edu/etsu_books/1112/thumbnail.jpg

Liner notes by Ted Olson, song lyrics, and discography; produced by Ted Olson. "In this collection, all of Reed’s songs, both faith-based and secular, recorded for the Victor Talking Machine Company over two sessions in 1927 in Bristol TN and Camden, NJ and two sessions in 1929 in New York City, are on one 22 track CD, complemented by well researched essays by Producer Ted Olson and LOTS of archival photos. Reed played fiddle and sang and on some sessions he was accompanied on guitar by his son Orville. ... Olson has included the younger Reed’s solo recordings." --Steve Ramm Review on Amazon / https://dc.etsu.edu/etsu_books/1117/thumbnail.jpg

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Excerpt: Ralph Peer’s 1927 Bristol Sessions were revolutionary in their influence, but the Johnson City Sessions recordings, overseen by Columbia’s pioneering A&R scout Frank B. Walker, reflect Walker’s more eclectic tastes and keener sense of humor. Indeed, the recordings from the Johnson City Sessions provide a distinctly different portrayal of Appalachian music.