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The Formative Dylan: Transmission and Stylistic Influences, 1961-1963 (American Folk Music and Musicians, No. 7.), by Todd Harvey
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The Formative Dylan examines the musical roots of 70 songs from Dylan's early career, namely from his first three Columbia LPs, officially released outtakes from those sessions, and his Broadside session recordings released by Folkways. Each of these songs is presented in a short article that details melodic and lyric roots and describes contemporaneous performances to show the process by which Dylan learned or composed his formative repertoire. Three appendixes help the reader to understand this repertoire not only in the continuum of American music but as a reflection of Dylan's own compositional development.
The term "formative" conveys that at that early point in his career Dylan had not yet fully emerged as a composer. During his formative period, almost every song had a clear melodic or lyric predecessor. His influences and his own creativity had not quite meshed into an individual style. His repertoire ranged from traditional Appalachian songs to blues to topical-protest songs, representing the interaction between the traditional and popular streams of American music.
Written during a ten-month Postdoctoral Fellowship at the Smithsonian Institution's Center for Folklife and Cultural Heritage, this book's primary resources were the Smithsonian's Ralph Rinzler Folklife Archives and Collections, the American Folklife Center at the Library of Congress, and the Library's Motion Picture, Broadcasting, and Recorded Sound Division.
- Sales Rank: #3101449 in Books
- Brand: Brand: Scarecrow Press
- Published on: 2001-12-15
- Original language: English
- Number of items: 1
- Dimensions: 9.41" h x .80" w x 6.35" l, .99 pounds
- Binding: Hardcover
- 224 pages
- Used Book in Good Condition
Review
Much has been written about Bob Dylan's early years and the folk revival movement, but this is the first time an attempt has been made to examine from a musicologist's point of view Dylan's compositional development during that seminal period...Harvey's book is truly excellent, and it is pleasant to read, too...Any reader interested in American traditional music and in Dylan's early years will find much to glean here... (The Bridge)
A must for any bookshelf purporting to represent the standard works on Dylan. Anyone wishing to engage with the flow of initial micro-periods in Dylan's development will find this book an invaluable companion. (Uncut)
...a book written with affection, knowledge and attention to detail, as well as an appreciation of the wider context….The Formative Dylan informs, engages, stimulates and expands understanding and appreciation. (Isis)
...Harvey does an excellent job finding relevant influences and analyzing the music... (Choice)
About the Author
Todd Harvey is currently a Folklife Specialist at the American Folklife Center, Library of Congress. Previously, he was a Professorial Lecturer at American University in the Department of Performing Arts.
Most helpful customer reviews
8 of 8 people found the following review helpful.
Excellent work
By A Customer
This is a fascinating book. Harvey examines 70 early Dylan songs for their musical and lyrical influences. He doesn't stop when he finds an earlier song with a similar melody. He finds a song that influenced the melody of *that* song, and then he finds yet an earlier song that had a similar tune, and so on.
Dylan has sometimes been criticized for ripping off the songs of this or that performer. Dominic Behan, for a famous example, claimed Dylan copied his 1957 "Patriot Game" in "With God On Our Side." Harvey's research shows what Behan conveniently did not mention: The "Patriot Game" melody had been used by Burl Ives in his versions of "The Nightingale," released on two different records in 1952 and 1956, before Behan wrote his song. Then Harvey traces the melody back to a recording made by Jo Stafford in 1948, released on a 78 rpm album. Harvey also reports that Liam Clancy said a very similar melody ("The Merry Month of May") came from the Appalachian Mountains.
Dylan *had* heard "The Patriot Game" and was influenced by it, as the lyrics indicate. The point is that, when folk songs and their melodies are the issue, no one person can usually be determined to be the author. Someone may copyright various songs, as A. P. Carter did with many Carter Family recordings, but that doesn't mean he wrote them. It is more a matter of receiving royalties that would otherwise be lost to Anonymous.
Harvey's book is fascinating reading, well written, and original. In this time when so many Dylan books are rehashes of the same old stories, it is a pleasant surprise to read a volume that is written from independent research.
The Formative Dylan is also a rare Dylan book in that its subject is Dylan's music, not his private life. Highest recommendation.
3 of 3 people found the following review helpful.
An excellent scholarly piece
By Mr. Adrian J. Smith
Todd Harvey's book is not only thoughful and well written, but it also contributes greatly to scholarship on Dylan by approaching his work musicologically. This is not to say that the work is inaccessible to those who aren't musicologists (I am not a musicologist myself, and found the book most user friendly). Harvey's book is most useful in that it presents a factual case describing Dylan's myriad influences, and doesn't fall foul of the "Is he or isn't he 'folk'?"/"Did he or didn't he sell out?" debates that have been to the detriment of some cultural histories of Dylan. Nor does Harvey attempt to situate Dylan's work in the context of 20th century American poetry as some scholars have tried to do (a fruitless task, to be sure). Most of all, Harvey helps to situate Dylan in the wider context of American traditional music, daring to look back even to the medieval ballads of Europe, rather than myopically locating Dylan and his work in the 1960s. This book is a must.
2 of 4 people found the following review helpful.
Oh how dull!
By P. Bryant
It's an excellent idea, but what grindingly dull work Todd Harvey makes of it all. Each of the 70 analyses follow the same pattern, so each contains a paragraph which says something like "I have heard 11 versions of Don't Think Twice, It's All Right : the [10/?/62a] 2nd Gaslight performance, the [11/14/62] Freewheelin' session VI recording, subsequently released on that lp, the [3/?/63a] Witmark session V recording..." etc etc through all 11 performances. (All the sessions are listed in an appendix at the back of the book, so why he couldn't asterisk those he'd heard and save 70 tedious paragraphs, I don't know.) Then later, we get a musical analysis of each song, like this : "Lay Down Your Waery Tune has a verse-chorus form with five verses (verse four has no chorus). In duple time it has an ABCA/ABCA phrase structure. Like Paths of Victory and Walkin' Down the Line the melody is the same in both the verse and chorus sections". Well, not much enlightenment there. I give credit for the author's doggedness in trying to chase down the sources for all these songs - there's lots of stuff I didn't know in here - but ignoring the appendices this book is only 127 pages long... (I believe that might be because it's aiming for educational establishments and not fans - maybe. Anyway, it tries hard to be "scholarly".) There are also odd lapses. Harvey credits John Bauldie's notes to the "Bootleg Series" box set then does not mention that Dylan's "Cough Song" is probably based on Jimmie Tarlton's (1930) "Mexican Rag" as Bauldie says. He omits the connection between "When the Ship Comes In" and the Carter family's "Gospel Ship"; and he doesn't explore the rather obvious thematic similarity between Dylan's "John Brown" and the Irish trad song "Johnny I Hardly Knew You". I might have forgiven the author for those omissions, but I can't forgive him for writing such a very dull and boring book about such an interesting subject. All in all, this is a real missed opportunity.
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