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enee to black pianists of the time, said, "They use die piano exacdy like a banjo." The tango, all the rage along with ragtime, led to a new "tango" banjo, based on the mandolin, which had no fifth string and was played by pick. This tenor banjo eclipsed the five-string banjo in popularity, as it was more suited to the fast chording demanded by die new music of the Jazz Age, and Gura and Bollman leave off their story as the five-string banjo's rise to popularity ends. In the Appalachians, diough, the five-string remained central to that population's social music, but it didn't attain national prominence again until the 1 940s saw the introduction of bluegrass music. "It has been the banjo's long journey from the southern plantation to the Victorian parlor that has remained shrouded," Gura and Bollman conclude, "in part because of the scarcity of source materials through which such a history could be assembled . . ." The sheer volume and incredible condition of the authors' source material brings one back to this very fine book again and again, for in these im- ages we can see into the nineteenth century, and with the informative
Southern Cultures – University of North Carolina Press
Published: Jan 4, 2000
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