Notice bibliographique
- Notice
000 nam 22 3 450
001 FRBNF436849190000004
010 .. $a 9780813136455
035 .. $a OCoLC811563577
100 .. $a 20131004d2012 m y0frey50 ba
101 0. $a eng
102 .. $a US
105 .. $a ||||z 00|||
106 .. $a s $a r
135 .. $a dru||||||||||
181 .0 $6 01 $a i $b xxxe
181 .. $6 02 $c txt $2 rdacontent
182 .0 $6 01 $a b
182 .. $6 02 $c c $2 rdamedia
200 1. $a A few honest words $b Texte électronique $e the Kentucky roots of popular music $f Jason Howard
210 .. $a Lexington, Kentucky $c The University Press of Kentucky $d 2012
215 .. $a 1 online resource (x, 258 pages)
330 .. $a In industry circles, musicians from Kentucky are known to possess an enviable pedigree
-- a lineage as prized as the bloodline of any bluegrass-raised Thoroughbred. With
native sons and daughters like Naomi and Wynonna Judd, Loretta Lynn, the Everly Brothers,
Joan Osborne, and Merle Travis, it's no wonder that the state is most often associated
with folk, country, and bluegrass music. But Kentucky's contribution to American music
is much broader: It's the rich and resonant cello of Ben Sollee, the velvet crooning
of jazz great Helen Humes, and the famed vibraphone of Lionel Hampton. I.
801 .3 $a US $b OCoLC $c 20131004 $c 20170123 $h 811563577 $2 marc21
930 .. $5 FR-759999999:43684919001001 $a ACQNUM-318 $b 759999999 $c Document numérisé $d N
