Wednesday Morning Music Shuffle – I’m Smilin’ not Gloatin’ Mix

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 Good morning world from downtown Nashville!

I’ll save the rhetoric for now.  Call this shuffle, music for the morning after….

I can’t explain how much in love I am with Songs of Praise and Scorn by current Featured Artist, Christopher Paul Stelling. Up today is the lead-off track from that album which is called Mourning Train to Memphis. I’m a sucker for a train song, and I once lived in Memphis; so this song strikes a chord with me. 

Jessica Pratt is a San Francisco based Folk singer (hum-dinger). She just recently released her self titled debut album (called Jessica Pratt interestingly enough).  The lead song from this record is the lovely Night Faces. Head over to Stereogum to get the MP3 of Night Faces.  Like what you’ve heard? Then go to the Birth Records site to get the album.

Shelly Colvin released her album Up the Hickory Down the Pine on October 30th.  The CD release party is this Thursday here in Nashville, and Ear2theGround will be there!  The album is chocked full of great music, and To the Bone is one of them.
Here’s Shelly with Red June doing Red Dirt Girl

We close out a delightfully consistent set of music with the title track from the album Forget About Wonderland by the band Walking for Pennies.  I’m really digging this record.



The Invention of 'Folk Music' and 'Art Music': Emerging Categories from Ossian to Wagner The Invention of ‘Folk Music’ and ‘Art Music’: Emerging Categories from Ossian to Wagner

We tend to take for granted the labels we put to different forms of music. This study considers the origins and implications of the way in which we categorize music. Whereas earlier ways of classifying music were based on its different functions, for the past two hundred years we have been obsessed with creativity and musical origins, and classify music along these lines. Matthew Gelbart argues that folk music and art music became meaningful concepts only in the late eighteenth and early nineteenth centuries, and only in relation to each other. He examines how cultural nationalism served as the earliest impetus in classifying music by origins, and how the notions of folk music and art music followed – in conjunction with changing conceptions of nature, and changing ideas about human creativity. Through tracing the history of these musical categories, the book confronts our assumptions about different kinds of music.


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