By C. S. Fuqua
Within the past due Sixties and early Nineteen Seventies, mythical artists like Aretha Franklin, the Rolling Stones, Willie Nelson and Bob Dylan traveled to North Alabama to checklist with the Muscle Shoals Rhythm part, sometimes called the Swampers. yet Alabama hasn't simply attracted musical stars with its talent--it additionally has a background of making stars of its personal. sign up for writer and musician C.S. Fuqua as he showcases the breadth of Alabama's musical expertise throughout the profiles and tales of its historical performers and innovators. From the "father of the blues," W.C. convenient, to Hank Williams, the originator of contemporary state song, to folks tune hero Odetta and everybody in among, this is often an unparalleled compendium of Alabama's groundbreaking track makers.
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Extra resources for Alabama Musicians: Musical Heritage from the Heart of Dixie
Along with Gace Brule´, he made the most beautiful, delectable, and melodious chanc¸ons that were ever heard in song or on the vielle. And he had them written down in his hall in Provins and in that of Troyes and they are called Les Chanc¸ons au Roy de Navarre. 22 The numerical representation of the genres in this source is as follows: ballates (188), grans chans (93), pastourelles (57), jeux-partis (36), sottes chansons contre amour (22), and estampies (19). 23 For a discussion of the order in which Thibaut’s chansons occur in the various manuscripts in which they are preserved, see Les Chansons de Thibaut de Champagne, ed.
131r–v of London, British Library, MS Eg. 274 (F), it will be excluded from the discussion which follows. 1. Principal trouve`re manuscript sources containing music Manuscript Siglum Arras, Bibliothe`que municipale, MS 657, fos. 129–60 (Arras) Berne, Burgerbibliothek, MS 231 (Berne) Paris, Bibliothe`que de l’Arsenal, MS 5198 (Arsenal) Paris, BNF f. fr. 765, fos. 48–63 Paris, BNF f. fr. 844 (Roi) Thibaut de Champagne collection in Roi, fo. 13 and fos. 59–77 Paris, BNF f. fr. 845 Paris, BNF f. fr.
39 For this reason Sta¨blein (Schriftbild, 190) labels the notation of U as ‘Metzer Neumen, Epoche II’. 40 The manuscript contains 352 lyrics: all of those preserved with music are located in the ﬁrst section, between fos. 1 and 91, with the exception of one late addition in square notation on fo. 170v. 41 A description of the differences between notatio cum litera and notatio sine litera is given by Anon. IV; see F. Reckow, Der Musiktraktat des Anonymous 4, 2 vols. (BzAMw 4–5; Wiesbaden, 1967), i.