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Willie Dixon's work on the blues: Fr...

Inaba, Mitsutoshi.

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Willie Dixon's work on the blues: From the early recordings through the Chess and Cobra years, 1940--1971.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Willie Dixon's work on the blues: From the early recordings through the Chess and Cobra years, 1940--1971./
Author:	Inaba, Mitsutoshi.
Description:	975 p.
Notes:	Source: Dissertation Abstracts International, Volume: 66-09, Section: A, page: 3149.
Contained By:	Dissertation Abstracts International66-09A.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3190524
ISBN:	0542333007

Willie Dixon's work on the blues: From the early recordings through the Chess and Cobra years, 1940--1971.
Inaba, Mitsutoshi.

Willie Dixon's work on the blues: From the early recordings through the Chess and Cobra years, 1940--1971. - 975 p.

Source: Dissertation Abstracts International, Volume: 66-09, Section: A, page: 3149.

Thesis (Ph.D.)--University of Oregon, 2005.

This study explores Willie Dixon's work on the Chicago blues from the 1940s to the early 1970s. It details the development of his songwriting techniques from his early professional career to his mature period and compares the compositions he provided for different artists. This research also examines Dixon's philosophy of songwriting and its social, historical, and cultural background; the significance of his songs in African American culture; his arranging and producing processes; and his bass-playing techniques.

ISBN: 0542333007Subjects--Topical Terms:

516178
Music.

Willie Dixon's work on the blues: From the early recordings through the Chess and Cobra years, 1940--1971.
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245 1 0 $a Willie Dixon's work on the blues: From the early recordings through the Chess and Cobra years, 1940--1971.
300 $a 975 p.
500 $a Source: Dissertation Abstracts International, Volume: 66-09, Section: A, page: 3149.
500 $a Adviser: Anne Dhu McLucas.
502 $a Thesis (Ph.D.)--University of Oregon, 2005.
520 $a This study explores Willie Dixon's work on the Chicago blues from the 1940s to the early 1970s. It details the development of his songwriting techniques from his early professional career to his mature period and compares the compositions he provided for different artists. This research also examines Dixon's philosophy of songwriting and its social, historical, and cultural background; the significance of his songs in African American culture; his arranging and producing processes; and his bass-playing techniques.
520 $a The study covers Dixon's childhood and youth, his early professional groups---the Five Breezes, the Four Jumps of Jive, and the Big Three Trio---and his work for two main record companies: Chess Records and Cobra Records.
520 $a One purpose of this study is to examine Dixon's characteristic writing styles. Using conventional musical devices for blues compositions as a basis, Dixon expanded the possibilities of blues songwriting by introducing a pop song form, utilizing a quatrain refrain text form with longer musical structures than a 12-bar form, and amalgamating the 12-bar/a-a-b form with the 16-bar/quatrain refrain form in different sections of a composition.
520 $a The study also explores how Dixon helped artists such as Muddy Waters, Howlin' Wolf, and Koko Taylor intensify their public images. It demonstrates how Dixon's development of their performing personae is relevant to the tradition of the blues as a secular religion and how Dixon's casting of them originated in traditional black badman tales circulated in the postbellum South. The study provides a consideration of the traditional sociocultural role of the blues performers as preachers of an African American alternative religion and demonstrates Dixon's ultimate intention in his compositions, which was to provide wisdom as the most important element of the blues.
520 $a This study covers all available Dixon compositions released in the form of recordings during the period on which I focus. As well as the artists mentioned above, the discussion includes Dixon compositions recorded by Eddie Boyd, Harold Burrage, Bo Diddley, Betty Everett, Lowell Fulson, Buddy Guy, Big Walter Horton, Junior Wells, Little Walter, Willie Mabon, Magic Sam, Jimmy Rogers, Otis Rush, Sonny Boy Williamson (II), Jimmy Witherspoon, and others.
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773 0 $t Dissertation Abstracts International $g 66-09A.
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