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Laurence Libin

Class ranking of instruments, high to low, in a society’s estimation. The relative position of a type of instrument must be distinguished from the status accorded a singular example. An ordinary guitar once owned by Elvis Presley would be elevated among his fans for its provenance alone. Usually an instrument’s social status seems inseparable from the status of its players and music. For example, the 18th-century hurdy-gurdy was held in low repute by the elite as a clumsy device for grinding out folk tunes by itinerant beggars, but refined models created for Arcadian ladies were considered fashionable and engendered a charming repertory. Baroque bagpipes display the same dichotomy; brash-sounding folk types with naked bags were portrayed as vulgar, even phallic, while elegant musettes taken up by aristocrats were esteemed accordingly. On the other hand, Baroque trumpets and kettledrums used in the service of persons and institutions of high estate as sounding symbols of their eminence were played by subordinates who were often hardly more than servants. Similarly, the church organ, regarded by Mozart as the ‘king of all instruments’ and often a symbol of civic pride, was commonly played by a humble schoolmaster. Thus, an instrument type does not automatically confer its status on its player and vice versa....

Article

E. Bradley Strauchen-Scherer

(b New York, NY, 17 March 1922; d London, England, 12 Sept 1990). American ethnomusicologist and curator. Although born and reared in the Bronx, Jenkins portrayed herself as having been brought up in rural Arkansas surrounded by Ozark folk music. As a teenager, she learnt an extensive repertoire of folksongs and became active in American folk music circles. Like many folksingers of the era, Jenkins espoused socialism. She studied anthropology and musicology in Missouri but her support of trade unions and civil rights attracted the scrutiny of the FBI....