1. Part 3 The Growth of Vernacular Traditions Chapter 10: Country Music America’s Musical Landscape 5th edition PowerPoint by Myra Lewinter Malamut Georgian Court University © 2006 The McGraw-Hill Companies, Inc. All rights reserved

2. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music2 Country Music Various vernacular musics evolved in America’s rural and urban environments in the 19 th century People living in remote areas in the Eastern hills continued to sing and play their traditional music as it had been performed by their ancestors These people were isolated from mainstream popular music and unaffected by modern trends Through oral tradition, the people passed through the generations the old tunes and customs Early folk ballads, originally from the British Isles, such as “Barbara Allen” were preserved

3. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music3 After the Civil War New influences invaded all areas, including isolated mountains Music and other aspects of life were affected Migrant workers came to the rural hills and brought new kinds of music and new musical instruments, including the 5-string banjo Banjo

4. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music4 Mountain People took temporary jobs in cities These people brought home new subjects for songs and new musical sounds New “folk” songs evolved Similar to the traditional ballads But characteristically American in subject and style Sometimes people lost track of a song’s origin A song included in the “folk” repertoire might actually have been composed rather than improvised, memorized, and passed down in the traditional ways

5. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music5 From Country to City The early 1920s Commercial recording companies began to send talent scouts into the hill country To search for folk singers and instrumentalists with a distinctive sound To entice country musicians to come to the cities, where the market for recordings of “old time” music was increasing

6. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music6 Hillbilly Music The term “hillbilly music” was coined in 1925 “Hillbilly music” somewhat scornfully referred to music of Country fiddlers Harmonica players Singers of country ballads “Old-time,” “hillbilly,” and “country,” traditional music from the hills The term Hillbilly Music came from a 4-musician group from Virginia named the Hill Billies, who recorded music A fiddle was a violin

7. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music7 Hill musicians Traveled with tent shows, medicine shows, and vaudeville shows Amazed audiences with virtuosic performances at fiddlers’ contests At country fairs they sang songs about love, work, family life, death in a semidetached impersonal manner that made their music all the more moving City listeners enjoyed the music, and the audience for country music continued to expand

8. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music8 As commercal radio evolved Hillbilly music proved widely popular “Barn dance” radio shows sprang up in the South and throughout the Midwest The most famous of these shows was the Grand Ole Opry Debuted on a station in Nashville, Tennessee, in 1924 Instrumental in establishing Nashville as the all time base for the country music industry

9. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music9 Effects of popularity and commercialization of Hillbilly Music The end of the old way—the oral tradition—of preserving original folk songs and performance practices The commercial market required a constant supply of new pieces Country musicians adapted by writing new songs and performing them in a manner acceptable to a city audience Ballads were popular Many were about the dramatic current events of the day People lost track of which folk songs were traditional and which were created by modern professionals

10. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music10 By 1927 two different strains of hillbilly music reached the public: One introduced by Jimmie Rodgers, from Mississippi in the Deep South The other made popular by the Carter Family, a singing family from the mountains of Virginia

11. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music11 Jimmie Rodgers (1897-1933) Wandered through several states during his brief career; had little formal music training Played guitar while singing in a clear tenor voice Often used the vocal falsetto range Known and imitated for his yodel, a rapid alternation between the full voice and falsetto Known for his thirteen songs called “blue yodels”, with form and harmonies of twelve-bar blues Nicknamed the “singing brakeman” for singing about his experiences working on the railroad, along with other topics such as love gone wrong, cowboys, his Southern home, etc.

12. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music12 Listening example 33 Blue Yodel No. 9 Composed by Jimmie Rodgers Sung by Jimmie Rodgers Accompanied by Louis Armstrong, trumpet Lil Hardin Armstrong, piano Listening guide page 167 Form: Strophic Tempo: Moderately slow Notice the sound of Rodgers’ yodel. During his lifetime Rodgers established the solo song as an important part of hillbilly music. Rodgers was the first person elected to the Country Music Hall of Fame in Nashville.

13. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music13 The Carter Family: From the Mountains of Virginia Symbolized the close, conservative family: Alvin Pleasant Delaney (A. P.) Carter (1891-1960); Sara Carter, the wife of A. P.; and, Maybelle, Sara’s cousin and A. P.’s sister-in-law Sang traditional songs, ballads, and hymns in pinched nasal voices and tight harmony characteristic of mountain people Favored ragtime and early jazz rhythms Spiked their music with a zesty backbeat (accents on beats two and four instead of the usual one and three) Songs: Ballads about train wrecks and disasters, sentimental songs about mountain flowers, country churchs, and lovely pale maidens, plus hymns and joyful camp meeting spirituals

14. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music14 Listening Example 34 Chinese Breakdown By The Carter Family Performed by Sarah Carter, autoharp Maybelle Carter, guitar Listening guide page 34 Meter: Duple Style: Mountain music Hear the “Carter Scratch”: Picking a melody on the bass strings Autoharp: A folk instrument whose strings are strummed or plucked with one hand as the other hand presses buttons to form chords During the 1920s and 1930s the Carter Family collected, arranged and recorded hundreds of American traditional songs, spirituals, and folk songs, laying the foundation for modern country music. Carter heirs, including June Carter (1929-2003) continue to perform.

15. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music15 Johnny Cash, the “Man in Black” (1932-2003) Cash, June Carter’s third husband, was not part of the country music establishment Cash had ties to rockabilly, but his best songs sounded like country music, including “I Walk the Line,” and, “The Green, Green Grass of Home” 1992: Inducted into the Rock and Roll Hall of Fame Cash was country music’s first protest singer Roseanne Cash, daughter of June Carter and Johnny Cash, has been a major country music performer since the 1980s Grammy winner Roseann Cash mixes country, folk, pop, and rock Roseann’s stepsister Carlene Carter combines rock and country

16. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music16 Listening Example 35 The Ballad of Casey Jones Words by Wallace Saunders Melody: Anonymous Sung by Johnny Cash Listening guide page 169 Form: Verse-chorus Tempo: Fast Meter: Quadruple Accompaniment: Banjo, background choral harmonies Hear a train whistle and a percussion instrument’s rhythmic “chugging” Written by a black laborer who never received a penny for the song, white entertainers made this into one of the most popular and enduring American ballads. The lyrics tell the story of train engineer Casey Jones, who sped his train for passengers to arrive on time at their destination without injury, as he sacrificed himself in the ensuing train wreck.

17. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music17 Styles of Country Music By the 1920s Americans had radios and heard Hillbilly or old-time music White religious music called gospel performed by country singers accompanied by fiddle, banjo or guitar Rollicking dance tunes played by string bands consisting of fiddles, banjos, guitars, and sometimes string bass Dance songs consisting of a vocalist and instruments Sentimental parlour songs Old English and American ballads Work songs Spiritual songs became part of country music

18. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music18 The Gift of Country and Folk Musicians: The ability to absorb and reflect in music various influences and life experiences Development of characteristic sounds, country in flavor but distinctive in style Rural music has evolved, reflecting local experience and preferences, producing a varied body of modern country and folk musics Music reflects country people’s perception of and reaction to urban developments that change the country way of life Country music evolved as an urban, commercial expression of rural folk culture

19. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music19 American Folk Ballads Folk songs about current events were always part of America But as people forgot past events, they also forgot the songs Few topical songs we remember today are more than 100 years old Around the turn of the 20 th century the trade union movement and interest in social causes produced topical songs for city audiences Most of these songs had a leftist bent Railroads, representing progress and the future, proved a popular subject for ballads ‘Wabash Cannon Ball,” written and recorded in 1936 by Roy Acuff Twentieth century ballads had the flavor and appeal of traditional folk ballads and were reminiscent of earlier broadside ballads

20. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music20 Bluegrass A virtuosic instrumental style rooted in mountain music Bluegrass started in the 1930s and 1940s with mandolinist Bill Monroe (William Smith Monroe, 1911-1996), the “Father of Bluegrass,” who blended old-time string band music with the holler of the blues, plus improvisation of jazz Monroe’s string band was called the Blue Grass Boys, named for his home state of Kentucky

21. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music21 Characteristics of Bluegrass Primarily instrumental music Sung ballads in verse-chorus form emphasize the important instrumental interludes or breaks A bluegrass ensemble consists of acoustic instruments: Fiddle Guitar String bass Five-string banjo Often, mandolin, a plucked stringed instrument Fast tempos and virtuosic playing provide excitement

22. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music22 Listening Example 36 Earl’s Breakdown Composed by Earl Scruggs Performed on Guitar, by Lester Flatt Banjo, by Earl Scruggs Mandolin Fiddle Bass Listening Guide on page 172 Form: Variations on a tune The virtuosic performances reveal the reasons bluegrass remains among the most appreciated styles of music today Notice how Scruggs uses a tuner to bend the pitches expressively Flatt and Scruggs left Bill Monroe’s Blue Grass Boys in 1948 to form their group the Foggy Mountain Boys

23. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music23 More recently During the 1960s Bluegrass was popular on college campuses, in coffeehouses, and at folk festivals Bluegrass has flavored television shows and movies TV shows Petticoat Junction, Beverly Hillbillies, Green Acres Films including Bonnie and Clyde, Deliverance, O Brother, Where Art Thou? (2000) Recent songs, albums and CDs referring to Bluegrass: Steve Wariner’s “Domino Theory” (1990) Vince Gill’s album High Lonesome Sound (1996) Steve Earl’s CD The Mountain (1999)

24. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music24 Today’s Performers Alison Krauss, Illinois fiddle virtuoso and vocalist Sings with the award winning band Union Station Union Station has outstanding solo musicians, including Jerry Douglas, virtuoso performer on the Dobro  A dobro is a wood-body resonator guitar with metal cover plate over the sound hole and aluminum cone for amplification Emmylou Harris, folk and country music revivalist Fans gather each summer at bluegrass festivals

25. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music25 Newgrass style A movement that began in the early 1970s Rock and jazz musicians began to share the instrumental techniques of bluegrass Newgrass combines rhythmic and harmonic complexities of jazz and classical music with lyrical melodies as well as humor Newgrass musicians John Hartford, one of the architects of the newgrass movement John Prine Lyle Lovett Jerry Garcia

26. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music26 Country Pop and the Nashville Sound Country music achieved popularity during the 1940s Northern United States GIs at Southern training camps had their first exposure to hillbilly music and liked it Soldiers in Europe often found country music their favorite War caused an exodus of Southern whites, who moved for work to the North and West In 1947 the Grand Old Opry staged a successful two-night performance at Carnegie Hall, New York City

27. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music27 Country Music Faced Disaster with the 1950s Explosion of Rock and Roll Recording executives and performers realized that two new audiences needed to be addressed Youngsters excited by rock and roll Urban adults uncomfortable with traditional country music Both audiences resisted traditional instrumentation but accepted country songs accompanied by electric guitar and drums for the young people, or piano and strings for adults

28. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music28 Rockabilly After World War II, teenagers preferred to spend money on rock and roll, which had been inspired by black rhythm and blues The audience for traditional country music dropped Rockabilly, the style of the new singing sensation Elvis Presley, was successful in combining country themes with the rhythms and instrumentation of rock and roll

29. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music29 The Birth of the Nashville Sound Renowned Chet Atkins (1924-2001) was appointed head of the Nashville division of RCA records in the late 1950s Atkins decided to change the sound of country music The unexpected commercial success of Patti Page’s recording of “Tennessee Waltz” influenced Atkins to produce songs that would score on both popular and country music charts The new sophisticated polished sound Atkins achieved by toning down rhythm sections and adding background voices to soften the harsh effect of traditional country music became known as the Nashville Sound.

30. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music30 Nashville From 1942 Nashville was the center of the country music business Roy Acuff (1903-1992) From the Tennessee mountains Symbolized old-time country music and its related shows and recording sessions as well as modern commercial country music 1942, Nashville: Set up the first modern music publishing company The Nashville sound: Country themes with pop instrumentation Vocal soloists of traditional country topics jived rhythms and added a vocal chorus similar to the doo-wop singers of Motown rock and roll Chet Atkins sang country songs and played guitar in a Tin Pan Alley style

31. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music31 Country Musicians Modified Their Style Country singers modified their twang and polished their performances, presenting country-style songs in pop format This was necessary to survive as commercial entertainers Cover recordings of country hits appeared on popular music charts Popular singers were Tony Bennett, Frankie Laine and others Eddy Arnold and Jim Reeves, often with string orchestra, represented country pop

32. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music32 Many country artists adopted techniques of rock and roll Johnny Cash’s strong rhythm and lively instrumentation attracted the rock and roll audience Tennessee Ernie Ford’s recording of “Sixteen Tons”, written by guitarist Merle Travis, hit the top of the best-selling charts Some Nashville soloists substituted a “hot” guitar for their banjos and mandolins Instrumentation now included electric guitars, drums, and electric bass

33. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music33 The Early 1960s Nashville had become a recording capital of popular music Country’s flirtation with rock and roll faded Country pop has flourished since then: Faith Hill Shania Twain Tim McGraw Randy Travis George Strait Garth Brooks

34. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music34 Country Goes Western Early on, country music moved west where it developed distinctive styles 1930s and 1940s Forced migration west was caused by the Great Depression and the drought-stricken Dust Bowl People carried their music customs with them Soldiers associated with others from diverse backgrounds, and discovered the joys of country music Country music changed in Western states, reflecting mariachi sounds, Cajun music, Hawaiian steel guitar, and cowboy songs called country-western

35. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music35 Western Swing Country music in the Eastern United States reflected the conservative mood and morality of the Christian home Western country flavor was closer to the atmosphere of the dance hall Texans responded to the big band craze of the 1930s and 1940s with their own dance band style, western swing: Added to Eastern big band instrumentation were fiddles and steel guitar Singers added yodeling in the style of Jimmie Rodgers Fast tempos, hot rhythms, and virtuosic instrumental solos were indicative of a strong jazz influence

36. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music36 Bob Wills (1905-1973) The major person in the development of western swing Performed Country fiddle tunes Hispanic folk music African American folk blues Jazz Wills’ band was the Texas Playboys The Texas Playboys performed fiddle tunes, cowboy numbers, hit parade songs, jazz instrumental, blues numbers, Mexican music and more

37. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music37 Listening Example 37 New San Antonio Rose Composed by Bob Wills Performed by Bob Wills and His Texas Playboys Listening guide page 177 Meter: Quadruple Form : Hear the 4-measure introduction in swing dance style, followed by fox-trot style. Notice the mariachi (Mexican) favor in the C strain A B A B C A C A Bob Wills, who played fiddle and mandolin, punctated the band’s performances with jive talking, falsetto asides, and cries of “ah-ha!” as heard in this song, which is his signature tune that became a huge national success in the 1940s.

38. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music38 Honky-Tonk: Another country- western style Patrons in honky-tonks, intimate crowded Texan bars and clubs, danced to the honky-tonk songs About life relevant subjects including infidelity, divorce, alcohol, home sickness, separation, loneliness, prison Rough, realistic lyrics were sung in the earthy, matter-of-fact manner typical of country style Electrified amplified instruments were used to carry above the noise in the honky-tonks Amplified piano often was the sole accompaniment Other instruments included those used in blues, jazz, or Hawaiian ensembles, electrified

39. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music39 Honky-tonk stars White men from the Southwest: Ernest Tubb, Lefty Frizzell, Buck Owens, Merle Haggard, George Jones, George Strait Charlie Pride, the only black country music performer to have a long and distinguished career Hispanic singers Freddie Fender and Johnny Rodriguez Hank Williams, Sr. (1923-1953) was the greatest honky-tonk star, as well as starring in other country music styles. Williams was the best-known and most financially successful country singer Recent honky-tonk responds to the new public frankness on subjects such as sex, drugs, and violence with strong new lyrics, often sung by females

40. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music40 Cowboy Songs By the mid-1930s the craze for western films was full-blown; cowboys in the films portrayed heroes, singing romantic cowboy songs by Tin Pan Alley professionals Popular “singing cowboys” included Texas born Gene Autry, “Oklahoma’s yodelin’ cowboy” Publisher, producer, and the first movie star to get into television Tex Ritter, also from Texas Roy Rogers starred in about 100 western films Bob Nolan, a founder of the singing trio Sons of the Pioneers, wrote cowboy songs There were cowboy songs written by real cowboys

41. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music41 The late 1940s: Cowboy songs faded in popularity Gene Autry, who earlier had recorded songs from the African American blues tradition went on to sing songs in the popular rather than the western vein Sang “Rudolph, the Red-Nosed Reindeer,” written by Johnny Marks, and “Here Comes Santa Claus,” cowritten with Oakley Haldeman Tex Ritter’s popular “High Noon” written by Dimitri Tiomkin was high on the pop charts, not the country-western charts Recent films helped revive country music, attracting listeners who enjoy simple melodies and straightforward lyrics

42. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music42 Women in Country: The Early Days Road life, honky-tonk settings and all-male bands of country music were unwelcoming to women Women’s place in society was rigidly defined Women who were successful were crossover artists bridging country and pop Patsy Cline (1932-1963) From a country background; had a strident powerful country sound Kitty Wells, the original “Queen of Country Music” Loretta Lynn favored honky-tonk instrumentation, appealed to beleaguered housewives

43. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music43 Women Recently: The 1990s: Women established a commanding presence in country music as writers and singers of “new country” Mary Chapin Carpenter and Reba McIntyre broke ground singing about contemporary city people Shania Twain, LeAnn Rimes, Deana Carter, Mindy McCready have mixed old-fashioned values and country instrumentation with frank sexuality and samplings of other sounds Lee Ann Womack’s “I Hope You Dance” was the top country single in 2000

44. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music44 Women and Country Music Harmony Close tight country music harmonies between a man and a women constituted a musical dialogue implying sexual tension Duets between George Jones and Tammy Wynette; between Porter Wagoner and Dolly Parton Same-sex combinations of women singers, with a close blend Collaboration of Dolly Parton, Emmylou Harris, and Londa Ronstadt in creating albums

45. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music45 Recent Country “New country” competes with “Traditional Country” California and Nashville Traditionalists are in Nashville Modernists are in California and other areas Dwight Yoakam, George Strait, Alan Jackson A new activism The Dixie Chicks criticized the president of the US

46. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music46 Country Music Today New traditionalism has led some country stars to replace electronic instruments and pop drumbeats with acoustic guitars and fiddles Some seek to recapture the friction and grit of original honky-tonk Fiddling and banjo contests are popular Western swing and bluegrass have a strong presence Banjoist Bela Fleck does amazing things with bluegrass, jazz, classical and rock Fiddle virtuoso Mark O’Connor blends bluegrass with funk and jazz

47. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 3: The Growth of Vernacular Traditions Chapter 10: Country Music47 Chapter 10 Image Credits Slide 3, Five string banjo. ©Jerry Howard/ Stock Boston Slide 6, Violin and Music, © Digital Vision/Getty Images Slide 45, Couple Dancing. ©Steve Mason/Getty Images.