242 items found
Collection ID is exactly "1" AND Collector or Fieldworker is exactly "Stone, Robert, 1944-"
Sorted by Type
Alfredo Gallegos interview for the Mexican American Music Survey

Alfredo Gallegos interview for the Mexican American Music Survey

Date
1995-05-13
Description
One audio cassette recording. Interview by Stone with deejay Gallagos, who also owns with his brother Radio Continental (1490 AM).
Collection
Amy Cox & apprentice Bob Murphy interview for the Folk Arts Apprenticeship Program

Amy Cox & apprentice Bob Murphy interview for the Folk Arts Apprenticeship Program

Date
1991-06-16
Description
One audio cassette (DAT tape). Amy Cox began playing with her father Gerry and mother Regina in the Homegrown String Band in 1982 at the age of eight. They played the Florida Folk Festival from 1983 through the 1990s. A copy of their album, Little Streams of Whiskey, can be found in S 1640, box 21. Murphy was her apprentice in 1990-1991. 
Collection
Aubrey Ghent and his father Henry Nelson performing sacred steel music at various events

Aubrey Ghent and his father Henry Nelson performing sacred steel music at various events

Date
1993-11-26
Description
One audio cassette recording. (Duplicate can be found on tape 5.) The first half of the tape was recorded at a House of God "Family and Friends Day Celebration" in Daytona Beach on 5 September 1993. The second half was recorded at the Ocala House of God Church #2 on 26 November 1993, and the then at the 1994 Florida Folk Festival on May 24 1994 (for entire festival performance, see D94-20 in S 1576.) On the second half, the vocals are weak. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
Collection
Aubrey Ghent performing Father in Jesus Name

Aubrey Ghent performing Father in Jesus Name

Date
1993-09-05
Description
One audio cassette recording. For more of these two, see tape 3. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
Collection
Autoharp player Charley Groth and his apprentice Cheryl Belanger

Autoharp player Charley Groth and his apprentice Cheryl Belanger

Date
1991-06-21
Description
Two DAT tapes. This was the third visit by folklorist Stone; recorded at Groth's residence. Consists of a rehearsal (tape 14) and an interview with Groth (tape 14 and 15). The Folk Arts Apprenticeship Program began in 1983 with a NEA grant of $22,000. The program provided an opportunity for master folk artists to share technical skills and cultural knowledge with apprentices in order to keep the tradition alive. Apprentices must have had some experience in the tradition and agreed to train for at least six months. The first project director was Blanton Owen, later replaced by folklorist Peter Roller. The program was continued each year through 2004.
Collection
Chevere Chicano and Unimex performing at the La Primavera Festival

Chevere Chicano and Unimex performing at the La Primavera Festival

Date
1992-03-08
Description
In 1992, the Palm Beach Community College contracted the Florida Folklife Program to conduct ten days of fieldwork in March 1992 around Lake Okeechobee for a Lakefront Legacy Festival later that year (16 May 1992). Headed up by FFP folklorist Debbie Fant, and assisted by Robert Stone and Robert Shanafelt, the fieldwork involved 26 informants, slides, print images and recorded interviews. In the end, the FFP recommended seven people for festival participation.
Collection
Conjunto Primavera and Los Rivales del Norte  performing at the La Primavera Festival

Conjunto Primavera and Los Rivales del Norte performing at the La Primavera Festival

Date
1992-03-08
Description
In 1992, the Palm Beach Community College contracted the Florida Folklife Program to conduct ten days of fieldwork in March 1992 around Lake Okeechobee for a Lakefront Legacy Festival later that year (16 May 1992). Headed up by FFP folklorist Debbie Fant, and assisted by Robert Stone and Robert Shanafelt, the fieldwork involved 26 informants, slides, print images and recorded interviews. In the end, the FFP recommended seven people for festival participation.
Collection
Country-blues guitarist Tampa Blue performing with his apprentices

Country-blues guitarist Tampa Blue performing with his apprentices

Date
1991-06-21
Description
Two audio cassettes (DAT tapes) A copy of Tampa Blue's album 'Come to Sing' can be found in S 1640, box 22, tape 2. Michael Davis dropped out of the program before his apprenticeship was completed. For more information on Tampa Blue and his apprentices, see S 1644, box 7, folder 6. The Folk Arts Apprenticeship Program began in 1983 with a NEA grant of $22,000. The program provided an opportunity for master folk artists to share technical skills and cultural knowledge with apprentices in order to keep the tradition alive. Apprentices must have had some experience in the tradition and agreed to train for at least six months. The first project director was Blanton Owen, later replaced by folklorist Peter Roller. The program was continued each year through 2003.
Collection
Felix & Augustine Omeden interview for the Folk Arts Apprenticeship Program

Felix & Augustine Omeden interview for the Folk Arts Apprenticeship Program

Date
1994-07-31
Description
One audio cassette. At the time, the Omebens had lived in Miami for ten years. The dances they taught through the apprenticeship program date back over a thousand years, were performed only by males who created their own costumes, and served as a religious declaration and rite of passage.
Collection
Fiddler Trenda Slaughter performing old-time fiddle tunes

Fiddler Trenda Slaughter performing old-time fiddle tunes

Date
Description
One audio cassette. Slaughter demonstrates the songs and styles she learned as an apprentice to fiddler Willie Jones. Apprentice Slaughter was funded to learn from Jones bowing, double stops, twin fiddling, and sixteen old-time tunes. For more information on Jones, see S 1644, box 11, folder 27. The Folk Arts Apprenticeship Program began in 1983 with a NEA grant of $22,000. The program provided an opportunity for master folk artists to share technical skills and cultural knowledge with apprentices in order to keep the tradition alive. Apprentices must have had some experience in the tradition and agreed to train for at least six months. The first project director was Blanton Owen, later replaced by folklorist Peter Roller. The program was continued each year through 2004.
Collection
Identifier Title Type Subject Thumbnail
a_s2029_01_tape06Alfredo Gallegos interview for the Mexican American Music SurveySoundField recordings
Interviews
Occupational folkore
Radio employees
Radio
Mexican Americans
Hispanic Americans
Broadcasters
/fpc/memory/omeka_images/thumbnails/audio.jpg
a_s1640_22_tape05Amy Cox & apprentice Bob Murphy interview for the Folk Arts Apprenticeship ProgramSoundApprentices
Fiddle tunes
Old time music
Interviews
Field recordings
/fpc/memory/omeka_images/thumbnails/audio.jpg
a_s2044_02_tape03Aubrey Ghent and his father Henry Nelson performing sacred steel music at various eventsSoundGuitarist
Singers
Fieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Festivals
Folk festivals
Special events
Church attendance
Church services
Protestants
Christianity
Churches
Religion
Musicians
/fpc/memory/omeka_images/thumbnails/audio.jpg
a_s2044_02_tape09Aubrey Ghent performing Father in Jesus NameSoundFieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Bands (Music)
Musical groups
Churches
Religion
Christianity
Protestants
Guitarist
Singers
Musicians
/fpc/memory/omeka_images/thumbnails/audio.jpg
a_s1640_22_tape14Autoharp player Charley Groth and his apprentice Cheryl BelangerSoundFieldwork
Apprentices
Zither
Autoharp
String instruments
Musical instruments
German Americans
Women apprentices
Music rehearsals
Old time music
Country music
Interviews
Life histories
Personal experience narratives
Harpists
Musicians
/fpc/memory/omeka_images/thumbnails/audio.jpg
a_s1624_03_tape05Chevere Chicano and Unimex performing at the La Primavera FestivalSoundFieldwork
Festivals
Latinos
Arts, Mexican
Mexican Americans
Concerts
Performing arts
Music performance
Music
Singing
Bands (Music)
Musical groups
Musicians
/fpc/memory/omeka_images/thumbnails/audio.jpg
a_s1624_03_tape07Conjunto Primavera and Los Rivales del Norte performing at the La Primavera FestivalSoundFieldwork
Festivals
Latinos
Arts, Mexican
Mexican Americans
Concerts
Performing arts
Music performance
Music
Singing
Bands (Music)
Musical groups
Musicians
/fpc/memory/omeka_images/thumbnails/audio.jpg
a_s1640_22_tape03Country-blues guitarist Tampa Blue performing with his apprenticesSoundFieldwork
Apprentices
Guitar
Musical instruments
String instruments
Music performance
Sound recordings
Guitarists
Blues (Music)
Singing
Guitar music
Guitarist
Blues singers
Musicians
/fpc/memory/omeka_images/thumbnails/audio.jpg
a_s1640_25_tape03Felix & Augustine Omeden interview for the Folk Arts Apprenticeship ProgramSoundField recordings
Interviews
Nigerian Americans
Dance
Ethnic clothing
Instrumentalists
Drums (musical instruments)
Oral history narratives
Fire eating
Religious rituals
Religious symbolism
Folk dancers
/fpc/memory/omeka_images/thumbnails/audio.jpg
a_s1640_24_tape23Fiddler Trenda Slaughter performing old-time fiddle tunesSoundFieldwork
Fiddles
Performing arts
Music performance
String instruments
Musical instruments
Fiddling
Fiddle music
Old time music
Apprentices
Fiddlers
Musicians
/fpc/memory/omeka_images/thumbnails/catalog_audio.jpg
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