Reinventing Dixie: Book Review, Part 2

My last post gave an overview of some of the ways that John Bush Jones’s book Reinventing Dixie: Tin Pan Alley’s Songs and the Creation of the Mythic South is both useful and problematic. Today’s will consider his central thesis, that the mythic South constructed within Tin Pan Alley songs is a vision of a south contemporaneous with the songs’ own times, not nostalgia for a South of the past.

One of the strengths of this book, as I mentioned before, is that it provides plenty of specific detail with which to test the author’s analysis, and the evidence to support this thesis is mixed at best.

There are some specifically contemporary references in the war songs – those songs about Dixie boys, or indeed Alexander with his band, going over to France are clearly topical for the years of World War I. And one could make a case for the promulgation of contemporary styles of popular music such as ragtime to support the contemporary thesis, though Jones mostly confines himself to discussion of lyrics, with only passing mention of musical content.

Reinventing Dixie: Book Review

reinventingdixieIn the light of barbershop’s current debates about the role of Dixie songs in its repertoire, I was interested to hear of a book published a couple of years ago about exactly this corpus of songs. Reinventing Dixie: Tin Pan Alley’s Songs and the Creation of the Mythic South sounded exactly like the kind of thing I should be reading!

I have not yet worked out whether I would recommend it in turn, for reasons that I aim to tease out in the next blog post or two (there may be more to talk about than will fit in just one). Overall I’d say it is more informative than explanatory – it told me lots of stuff that I didn’t otherwise know, but the analysis is weak, in places embarrassingly uncritical.

Basic Conducting Skills with abcd

Our venue for the day: Polish Millenium HouseOur venue for the day: Polish Millenium HouseI spent Saturday in central Birmingham leading a one-day course in basic conducting skills for the Association of British Choral Directors. We had participants representing a wonderful range of choral backgrounds – school choirs, church choirs, barbershop choruses, community choirs of various flavours, musical theatre, chamber choirs, a composer wanting to direct her own work. I had worried a little about meeting everyone’s needs, but in fact the breadth was very useful as it meant that nobody felt like the odd one out in terms of background or activity.

One of the things I particularly enjoy about teaching for the abcd is the way our courses are resolutely practical. Yes, there are topics that need discussion – repertoire choice, rehearsal planning, leadership and people skills – but the hand skills that are both central to and unique to conducting remain at the heart of what we do. Every participant has the opportunity to be coached as they lead the rest of the group in song, and everyone subsequently has the opportunity to review video footage of all the coaching sessions to aid their reflection and onward development.

BABS Directors Academy 2018

Donny and Amy introduce the weekendDonny and Amy introduce the weekend

One of the perks of my new role as MD of the Telfordaires is that I get to attend the annual training event that the run for their chorus directors. As you might imagine, it is the kind of occasion that fills your notebook with ideas to unashamedly steal, (or, shared best practices if you like to sound grown-up), and I’m sure my posts over the coming months will have many opportunities to refer back to it.

For today, though, I’d like to reflect on the opening session led by our primary guest educator, Donny Rose, who is the Education Director for the Barbershop Harmony Society. (We also had input from Amy Rose, who was there wearing two hats – as co-coach with Donny, and as social media expert for the BHS.)

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