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Australian country music and the hillbilly yodel

Published online by Cambridge University Press:  11 November 2008

Graeme Smith
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Extract

Of the seventy-five tracks issued as a historical survey of Australian country performers from 1936 to 1960, sixty-eight feature a yodelling interlude, and in many the yodelling forms the main part of the performance. The importance of this vocal technique in Australian country music, and its persistence till the present day is a striking feature of the genre. Prominent Australian performers such as Wayne Horsborough comment that yodelling before country audiences in the USA produces reactions of amazement, for the technique has been almost totally abandoned by current American performers. Yet because most historical commentary on Australian country music has stressed textual development, the presence of the yodel, a wordless interlude, is often merely noted, even if with an acknowledgement of the skill of performers in this technique. And for those in the present period wishing to promote Australian country music to a broader audience, the yodel tends to be a source of embarrassment. The country music industry today is preoccupied with ‘throwing off the hick image’ and emphasising the broad appeal of the genre, and to many current propagandists for Australian country music yodelling is an aspect of both the history and current state of the music which condemns them to commercial unacceptability. Yet it has remained popular with audiences and a significant number of performers, and recently a telemarketed album of yodelling songs by veteran country performer Mary Schneider sold at Australian platinum levels (Latta, 1991, p. 150). Country music clubs, which form a backbone of committed support for the genre, frequently organise local festivals where talent quests characteristically include yodelling competitions.

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Type
Articles
Information
Popular Music , Volume 13 , Issue 3 , October 1994 , pp. 297 - 311
Copyright
Copyright © Cambridge University Press 1994

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