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They love to dance most of all, more than any other people in the colony,i? French immigrant C.C. Robin wrote of the Cajun community in 1803. The vibrancy of folk musical traditions in south Louisiana has captured the imaginations of historians, musician aficionados, and dancers across the world. Editors Ryan A. Brasseaux and Kevin S. Fontenot provide a sweeping overview of Cajun music, from early studies of the musical genre, to organizations based on preserving culture through music, to its early heyday on the radio and festival stage, to its present state, edging onto the national radar with Grammy awards, blockbuster movie soundtracks, and revolutionary adaptations of old Cajun standards. The materials featured in this volume are organized into categories based on their thematic focusa'socio-cultural context, commercialization, and artist biography. Accordions, Fiddles, Two Step & Swing is designed with scholars, students, and Cajun music aficionados in mind. The articles included represent the spectrum of Cajun musical expression as interpreted by authors from all walks of life. Materials ranging from instrumentation to information dealing with specific artists and social contexts demonstrate that Cajun music is defined more by ethos and social context than a delimited set of stylistic features. We hope this collection of essays will stimulate a new generation of researchers to document shifts within the local, regional, even global soundscapes. Perhaps this collection of essays will encourage budding scholars and established humanists alike to document a bit of culture for posterity one song at a time.
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"Cajun" is an Anglo corruption of the French term Acadien, which refers to the area of Canada from which these French speakers migrated to Louisiana in the early 19th century. It also denotes the present white bilingual culture group concentrated in southwestern Louisiana. Serious scholarship on Cajun music began in the 1950s, and Brasseaux and Fontenot bring together 42 articles and excerpts from widely scattered literature ranging from a 1935 master's thesis to recent articles by a variety of scholars of folklore, anthropology, and ethnomusicology. The editors organize the pieces into three groups: "Origins and Locales of Cajun Music" (11 essays), "Commercialization of Cajun Music" (8 essays), and "Profiles of Cajun Artists" (22 studies devoted primarily to individuals). Completing the collection is a brief chapter titled "Cajun Music and the Twenty-First Century." The articles are reprinted from a variety of scholarly journals and other sources; all are readable, descriptive, and accessible. Many authors are known authorities, and quite a few have Cajun surnames. Indeed, the editors are Cajuns, performers as well as scholars. Although the collection breaks no new ground, it is certainly a convenient reader of the best available scholarship. ^BSumming Up: Recommended. Lower-division undergraduates through faculty; general readers. T. E. Miller emeritus, Kent State University