Table of Contents
- I. Family Background / EducationEarly Exposure to Music / The Harrods / Bald Knob and The Crawl / The VanArsdales / Rufus Harrod / Changes in Town and Country / Education
- II. Starting to Collect / Artist-in-the-Schools ResidenciesReturn to Kentucky - Initial Engagements with Music / Meeting Bill Livers and Lily May Ledford / Folk-Artist-in-the-Schools Residencies - Meeting Darley Fulks - Beginning to Make Field Recordings / Traditional Culture and Values vs. Peer Generation
- III. Gus Meade, Mark Wilson, and Rounder RecordsMeeting Gus Meade / Getting Serious About Documenting / Working With Gus Meade and Mark Wilson - The Kentucky Rounder Anthologies / Rationale for Presenting the Rounder CDs - Role of Education
- IV. Collecting ApproachesMotivations - Discovering the Depths of Kentucky Music / Criteria in Searching for Musicians / Recording Equipment / Approaches to Field Recording / Training - Conflict with the Folklore Community / Collecting from the Inside - More Approaches and Techniques / Unusual and Common Tunes / Unwelcomed Visits - A Tale of Two Exceptions to the Rule
- V. Music and Geography / RegionalismThe Idea of Place - Influence of the Literary Community in Kentucky / Musical Geography / The Music's Place in Society / Documenting Communities of Fiddlers and Regional Styles
- VI. Information on Musicians / Music TalkTraditional Performance Situations - Past and Present / Gallatin and Carroll County Musicians (On the Ohio River) / Thoughts on Bob Kash / Transitional Fiddlers / Art Stamper / Billy Don Stamper and Paul David Smith / Santford Kelly / Carlton Rawlings Family / "Canadian?" / Andy Palmer / Discussion about "cutting up" tunes (making tunes crooked by taking away beats) / Accompaniment vs. Solo Playing / Banjo
- VII. Donating the Harrod Collection to Berea College and Morehead State UniversityBeginnings of the Berea Sound Archive / Donating to Two Archives
- VIII. The Collection as a Learning Resource / The Living TraditionThe Fragility of Tradition - A Myth or Reality? / The Living Tradition - The Future / Using the Collection to Learn Regional Music / Defining an Aesthetic - Making Choices / Impact of Technological Innovations on Learning the Tradition / Final Thoughts
