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Alan Lomax (/ ˈ l oʊ m æ k s /; January 31, 1915 – July 19, 2002) was an American ethnomusicologist, best known for his numerous field recordings of folk music of the 20th century. He was a musician, folklorist , archivist, writer, scholar, political activist, oral historian, and film-maker.
Cantometrics ("song measurements") is a method developed by Alan Lomax and a team of researchers for relating elements of the world's traditional vocal music (or folk songs) to features of social organization as defined via George Murdock's Human Relations Area Files, resulting in a taxonomy of expressive human communications style.
John Avery Lomax (September 23, 1867 – January 26, 1948) [1] was an American teacher, a pioneering musicologist, and a folklorist who did much for the preservation of American folk music. He was the father of Alan Lomax, John Lomax Jr. and Bess Lomax Hawes, also distinguished collectors of folk music.
The Complete Plantation Recordings, subtitled The Historic 1941-42 Library of Congress Field Recordings, is a compilation album of the blues musician Muddy Waters' first recordings collected by Alan Lomax for the Library of Congress in 1941-42 and released by the Chess label in 1993. [1]
Ethnomusicologist Alan Lomax was the first to collect the song, in 1939, describing it as a "blues" that was "a dirge for a dead comrade." [1] The Byrds issued a reworded version of the song in 1965, with lyrics that lament the assassination of John F. Kennedy.
Lomax the Songhunter is a 2004 documentary film about Alan Lomax, a man who, after World War II, was determined to record folk music from United States and all over the world before it was blown away by mass consumer culture.
An early reference to the older song, "Gospel Plow," is in Alan Lomax's 1949 book Our Singing Country. [1] [2] [3] The book references a 1937 recording by Elihu Trusty of Paintsville, Kentucky, which is in the Library of Congress (Ref No .1397 A1). Lomax's references for Gospel Plow cite two earlier works.
Alan Lomax suggests, in the notes for his recording, another source from the Texas prison community. Possibly the song became associated with Leadbelly through his various recordings of another Texas prison song titled "Go Down, Ol' Hannah" which shares some verses with "Ain't No More Cane on this Brazos".