I will first describe how "Man of Constant Sorrow" evolved up to the time of Dylan's recording, followed by a discussion of the process through which Dylan learned his version and internalized the song, making it his own. Parallel to this discussion of musical influences, I will talk about intellectual property and copyright, issues of central importance to folk music in the twentieth century.Note: The Peformance Artistry of Bob Dylan: Conference Proceedings of the Caen Colloquiu
This paper is drawn from a larger study of Bob Dylan’s vocal style from 1960 to 1966. In that six-ye...
In this article I emphasize the deliberate and reflexive way that Bob Dylan has approached studio re...
“Pretty Peggy O†is a British-American folk song. You might be familiar with it via the Grateful ...
In the liner notes to Bob Dylan’s first, self-titled record, Robert Shelton (1962) writes: “‘Man of ...
Many of Bob Dylan’s early compositions were drawn from pre-existing musical sources. This article tr...
Looking through the career of Bob Dylan, we can observe the patterns of musical change throughout th...
In this study Keith Negus takes issue with those authors who treat Bob Dylan as a poet and who obses...
Resonances and retentions of a living oral tradition are activated each night when Bob Dylan perfo...
Despite the fact that Dylan's songs have very singable and memorable melodies, most of the writing a...
This article tracks Bob Dylan\u27s early musical career and his relation to the American Folk music ...
My intention here is to analyze a recorded performance of a single verse of one of Dylan's most popu...
Many critics have interpreted Bob Dylan’s lyrics, especially those composed during the middle to lat...
This paper seeks to more closely examine the specific literary pleasures experienced by listeners of...
This paper seeks to more closely examine the specific literary pleasures experienced by listeners of...
In October 2016, Bob Dylan was awarded the Nobel Prize for literature. In this article, I examine Bo...
This paper is drawn from a larger study of Bob Dylan’s vocal style from 1960 to 1966. In that six-ye...
In this article I emphasize the deliberate and reflexive way that Bob Dylan has approached studio re...
“Pretty Peggy O†is a British-American folk song. You might be familiar with it via the Grateful ...
In the liner notes to Bob Dylan’s first, self-titled record, Robert Shelton (1962) writes: “‘Man of ...
Many of Bob Dylan’s early compositions were drawn from pre-existing musical sources. This article tr...
Looking through the career of Bob Dylan, we can observe the patterns of musical change throughout th...
In this study Keith Negus takes issue with those authors who treat Bob Dylan as a poet and who obses...
Resonances and retentions of a living oral tradition are activated each night when Bob Dylan perfo...
Despite the fact that Dylan's songs have very singable and memorable melodies, most of the writing a...
This article tracks Bob Dylan\u27s early musical career and his relation to the American Folk music ...
My intention here is to analyze a recorded performance of a single verse of one of Dylan's most popu...
Many critics have interpreted Bob Dylan’s lyrics, especially those composed during the middle to lat...
This paper seeks to more closely examine the specific literary pleasures experienced by listeners of...
This paper seeks to more closely examine the specific literary pleasures experienced by listeners of...
In October 2016, Bob Dylan was awarded the Nobel Prize for literature. In this article, I examine Bo...
This paper is drawn from a larger study of Bob Dylan’s vocal style from 1960 to 1966. In that six-ye...
In this article I emphasize the deliberate and reflexive way that Bob Dylan has approached studio re...
“Pretty Peggy O†is a British-American folk song. You might be familiar with it via the Grateful ...