In lieu of an abstract, here is a brief excerpt of the content:

Iam grateful to Bill Foshag for introducing me to folklife studies and old-time music. Bill is an old-time and bluegrass guitarist, and he also played his oldtime tunes on his stereo for me while we were working to restore his old gristmill near Carlisle, Pennsylvania. I was listening. Two teachers initiated me into playing the ¤ddle. Lasaunne Allen introduced me to the instrument during one of her winter stays in St. Augustine, and Wayne Martin taught me new techniques and provided me with a good feel for the tunes through lessons at his restaurant’s dance hall in Blountstown, Florida. Folklorists associated with the Florida Folklife Program gave me opportunities to present ¤ddlers and other traditional musicians and folk artists in schools and communities. Peggy Bulger, Tina Bucuvalas, Kristin Congdon, Ormond Loomis, Nancy Michael, Nancy Nusz, David Reddy, Jan Rosenberg, Bob Stone, David Taylor, and Brent Tozzer were especially generous in sharing their knowledge of Florida folklife. I have bene¤ted from the expertise, passion, and good humor of my folklore colleagues. They are too numerous to mention, but Betty Belanus, Paddy Bowman, Brent Cantrell, Bob Gates, Alfred Kina, and Gail Matthews-DeNatale deserve special recognition. Dick Bauman, Sandra Dolby, Henry Glassie, and Greg Schrempp provided valuable insights, guidance, and direction during my doctoral studies at Indiana University. I have also bene¤ted greatly from readings and discussions with my vii Acknowledgments  friends and colleagues at Arkansas State University. Rick Burns, Chuck Carr, Bill Clements, Cyndy Hendershot, Joe Key, Frances Malpezzi, Clyde Milner, and Bryan Moore all offered either careful readings or good discussions of various ideas relevant to ¤ddling, folklore, history, and theories about creative expression . Drew Beisswenger made an important contribution with his excellent transcipts and his conscientious reading, and Alan Jabbour provided an especially helpful reading of my discussion of Richard’s repertory. Jack Piccalo not only introduced me to Richard, but he also recognized why Richard truly is a treasure within Florida’s rich legacy of cultural heritage. It was my own great fortune to become friends with him when I was living in Jacksonville. My wife, Betsy Hansen, has always encouraged my various folklore and academic endeavors. She left her native Florida to live in Indiana before we returned to Florida. She then graciously accepted our latest move to Arkansas, and she is happy with her new home in the Arkansas Delta. This book is dedicated to her for her constant support and good spirit.  acknowledgments viii ...

Share