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What does the 'country' in country music mean? Most interpret country as a regional or folk music that belongs to people in the hills and in honky-tonks, but Cecelia Tichi argues that it is in fact a national music form, one that belongs to all Americans. In High Lonesome, she shows that country music is strongly linked to our nation's literature and art. Country music, Tichi argues, explores the same themes that have intrigued this country's premier writers and artists over three centuries: the American road, the meaning of home, class struggle, spiritual travail, and the persistent loneliness of the American character. These are obsessions that country music artists like Dolly Parton, Hank Williams, Rodney Crowell, Merle Haggard, and Emmylou Harris share with artists not thought of as 'pop'--Ralph Waldo Emerson, Harriet Beecher Stowe, Mark Twain, Thomas Cole, Edward Hopper, and Georgia O'Keefe. Generously illustrated with photographs of country music artists and images of American art, High Lonesome uses interviews and biographical profiles to provide an insider's look at the schooling, customs, demands, and discipline of country music--an art form that Tichi maintains is emphatically part of mainstream American culture. from the book When the poetry of Walt Whitman links up with the country music of Hank Williams, when Dolly Parton and Ralph Waldo Emerson pair up and Mark Twain and Emmylou Harris are found to have a common ground, and the vacationing traveler is also involved, then new ideas about cultural relations become possible. It is not a trivia question to ask, What does country music have in common with Thomas Jefferson, Walt Whitman, American painters Thomas Cole and Edward Hopper, and twentieth-century writers John Steinbeck and Jack Kerouac? Songs and partial songs found on the High Lonesome CD * indicates partial songs Dolly Parton, 'My Tennessee Mountain Home' Barry and Holly Tashian, 'Home' Emmylou Harris, 'Hickory Wind'* Steve Earle, 'Guitar Town' Robin and Linda Williams, 'Rolling and Rambling' Merle Haggard, 'Ramblin' Fever' Emmylou Harris, 'Lonely Street'* Emmylou Harris, 'A River for Him'* Hank Williams, 'I'm So Lonesome I Could Cry' Laurie Lewis, 'The Cowgirl's Song' Tex Ritter, 'High Noon' Dolly Parton, 'Wildflowers'* Eddy Arnold, 'Bouquet of Roses' Emmylou Harris, 'Roses in the Snow'* Emmylou Harris, 'Timberline'* Emmylou Harris, 'Red, Red Rose'* Emmylou Harris, 'Wayfaring Stranger'* Peter Rowan, 'Trail of Tears' Barry and Holly Tashian, 'Let Me See the Light' Kathy Chiavola, 'I Am a Pilgrim/We Are Pilgrims' Laurie Lewis, 'The Maple's Lament' Cody Kilby, 'Bill Cheatham' Rodney Crowell, 'Many a Long and Lonesome Highway'
A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.
- Sales Rank: #3380749 in Books
- Brand: Brand: Univ of North Carolina Pr
- Published on: 1994-09-15
- Original language: English
- Number of items: 1
- Dimensions: 10.25" h x 8.00" w x 1.25" l,
- Binding: Hardcover
- 352 pages
- Used Book in Good Condition
From Booklist
Some maintain that country music is the country's music and reflects traditional American concerns. That's English professor Tichi's position, anyway, as she explores the links between country music and American literature and art. In country, she argues, story is paramount and told through lyrics that amount to folk poetry. With this thesis in mind, she examines in detail such common country themes as home, the road, loneliness, spiritual pilgrimage, and nature. She manages to avoid the academic's pitfall regarding pop music--condescension--but often seems to lack the longtime fan's empathy (she admits ignorance of country until just a few years ago). Also, she draws too many of her musical examples (some of which are heard on an accompanying CD) from younger performers whose accessible but watered-down styles have sparked country's recent resurgence but whose very popularity stacks the deck in favor of her argument that country remains firmly in the American cultural mainstream. Still, Tichi makes a compelling case for country music as a legitimate object of American studies. Gordon Flagg
From Kirkus Reviews
A dry exegesis of country music by the author of Electronic Hearth (1991). Tichi (English/Vanderbilt Univ.) is a novice fan of country music whose background is strongest in American literature and art. Proceeding thematically, she addresses common issues in American culture, including the tension between the individual and society, the lure of home versus the call of the road, and nature as both a nurturing and potentially dangerous force. Lacing together anecdotes, interviews, and analysis of songs, she comes to the conclusion that country music addresses many of the same topics as more ``serious'' art forms, making it ``emphatically [a] national music.'' While her discussions can be interesting, ultimately she offers little new to explain the popularity or quality of country music. The musicians she favors--Emmylou Harris, Rodney Crowell, Laurie Lewis, Nanci Griffith, and Barry and Holly Tashian--all come out of a folk-rock background (in the '70s, they would have been called singer/songwriters), so they naturally tend to take an intellectual, pseudoliterary approach to songwriting and performance. Tichi's musical knowledge is slim, leading to some factual errors, as when she ascribes ``Dueling Banjos'' to Earl Scruggs, though it was in fact recorded by Marshall Brickman and Eric Weissberg. And the comment that ``the ability to read music would be futile for bluegrass...the music simply moves too fast to be read off the page'' would come as a surprise to any classical violinist who's ever tackled Paganini. The book is accompanied by a CD that primarily focuses on new country acts; this material is readily available, and it would be surprising if a reader who was attracted to this book did not already own most of these recordings. A tip of the academic mortarboard towards the ten-gallon-hat crowd that will befuddle members of both groups. (122 b&w photos and 16-page color insert) -- Copyright ©1994, Kirkus Associates, LP. All rights reserved.
Review
The popular musical traditions of the rural black South, most notably the blues, have received from scholars of American history and culture richly deserved attention and analysis. Until now the same could not be said for the popular musical traditions of the rural white South. With High Lonesome Cecelia Tichi, savvy reader of and acute listener to country music, helps us negotiate the cultural discourse between country music and the myths of this country, never failing to show us a good time in the process.--William L. Andrews, University of Kansas
Tichi investigates popular music as a significant cultural indicator. . . . Country music reflects the complexities of home life and interpersonal relationships in such a way that it reverberates with the dilemmas of the metropolitan and suburban present.--Christian Science Monitor
[A] sophisticated and down-to-earth study. . . . [Tichi] examines the country phenomenon and tries to place it in historical and artistic perspective.--Parade
A daring but successful book. . . . Tichi takes country music seriously, and she gives the art form the kind of serious intellectual treatment that it has always needed and deserved.--Bill C. Malone, author of Country Music, U.S.A.
The book is gracefully written, jargon-free, highly original, and engaging throughout. Tichi's astonishing interdisciplinary imagination enables her to bridge the gaps between popular culture and high art, music and literature, poetry and painting. High Lonesome is provocative and quite versatile, a good choice for American studies courses.--Journal of American History
Like many a fine country picker, Cecelia Tichi saves her best lick for last in this impressive articulation of the significant contribution country music makes to American culture. . . . High Lonesome provides a persuasive argument that country is a vital and important part of American culture.--American Studies
A highly original interpretation of an underappreciated art form. . . . High Lonesome offers a new perspective on both interpretation of country music performance and the ways in which both country music and American literary, artistic, and popular culture mirror the American cultural experience.--Text and Performance Quarterly
Tichi makes a compelling case for country music as a legitimate object of American studies.--Booklist
A book to listen to, that will last. . .--Book Page
An ambitious book that glitters like rhinestones.--New York Times Book Review
A highly original and important analysis of country music as it relates to American culture.--Now & Then
Drawing on a wide range of historical and literary sources, Tichi presents a skillful, creative dissection of the American, not just southern, character [of] country music.--Choice
Tichi finds through her research what the thinking country fan has known for a long time: when you look past the drinkin', cheatin' and hurtin' cliches, there's a soulful message that speaks volumes about America.--Louisville Post and Courier
Lucid and insightful. . . . Tichi persuasively connects country music's recurrent thematic obsessions with those of the country at large.--Boston Globe
Exhaustively researched and copiously illustrated. . . . Offers a number of insights into the essential nature of country music. . . . All of it is interesting, thought-provoking stuff.--Washington Post
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