新传统主义民谣Neo-Traditional Folk
在九十年代中期到末期,美国传统民谣曾经有过一次复兴,不仅仅是重录传统的谋杀歌谣和古老的小提琴曲调,也在用同样的方式书写并且表演。
在90年代中期至后期,人们对美国传统民间音乐的兴趣重新兴起。不仅可以重新录制传统的谋杀民谣和古老的小提琴曲调,而且还可以以相同的方式创作和演奏音乐。哈里·史密斯(Harry Smith)1952年具有里程碑意义的档案馆的《1997年美国民俗音乐选集》在1997年发行CD,似乎在音乐迷中点燃了火花,就像原始唱片在50年代初期所做的一样(最终帮助实现了民族复兴)。像吉利安·韦尔奇(Gillian Welch)和艾里斯·迪门特(Iris Dement)一样,他们录制忠实于卡特家族和伍迪·格斯里的朴实的民间音乐,发现自己吸引了众多听众的注意,而这些听众都不认为自己是乡村音乐或民间音乐的粉丝。
2000年电影O Brother Where Thou的配乐在Billboard排行榜上获得了惊人的成功,并最终帮助重振了20世纪上半叶民间民乐的真实感觉。约翰·哈特福德(John Hartford),诺曼·布莱克(Norman Blake)和杰伊·安加(Jay Ungar&Molly Mason)等音乐家扎根于阿巴拉契亚山脉的音乐和长期享有盛誉的沙碗民谣,他们录制了以传统民间结构和主题为基础的新歌,而艺术家如《英俊家庭》,《怪胎》和《尼克溪》音乐来自一种更为进步的“另类”倾向,仍然唤起了这次诚实,精神的本质-尊贵的风格。
During the mid- to late '90s, there was a resurgence of interest in American traditional folk music; not only re-recording the traditional murder ballads and old-timey fiddle tunes, but also writing and performing music in the same vein. The 1997 CD reissue of Harry Smith's 1952 landmark archive Anthology of American Folk Music seemed to kindle a spark in music fans much in the same way that the original LPs did in the early 50s (which eventually helped bring about the folk revival).
Artists like Gillian Welch and Iris Dement who had been recording earthy folk music faithful to the Carter Family and Woody Guthrie found themselves attracting attention from an audience who would not consider themselves fans of country or folk music. The soundtrack to the 2000 film O Brother Where Art Thou found surprising success on the Billboard charts and ended up helping to revive the earnest feel of the acoustic folk music from the first half of the 20th century.
Rooted in music from the Appalachian mountains and long honored dust bowl ballads, musicians like John Hartford, Norman Blake and Jay Ungar & Molly Mason recorded new songs based around traditional folk structures and themes, while artists such as the Handsome Family, Freakwater and Nickel Creek came at the music from a more progressive "alternative" slant, still evoking the honest, spiritual nature of this time-honored style.
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