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Keep on Keepin’ On
by
Ohl, Vicki
in
American Music
/ Art music
/ Art songs
/ Artists
/ Arts
/ Biography
/ children's songs
/ Composers
/ Economic disciplines
/ Economics
/ Employment
/ Have Pity Man
/ High culture
/ Historical methodology
/ Historiography
/ History
/ I Shall
/ Labor economics
/ Man
/ Melody
/ Memoirs
/ Music
/ Music composition
/ Music genres
/ Music theory
/ musical activities
/ musical composition
/ Musical keys
/ Musical motives
/ Musical pitch
/ Musicians
/ Occupations
/ Performing arts
/ Popular music
/ Popular songs
/ Shoana
/ The Bee Song
/ Yes
2004
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Keep on Keepin’ On
by
Ohl, Vicki
in
American Music
/ Art music
/ Art songs
/ Artists
/ Arts
/ Biography
/ children's songs
/ Composers
/ Economic disciplines
/ Economics
/ Employment
/ Have Pity Man
/ High culture
/ Historical methodology
/ Historiography
/ History
/ I Shall
/ Labor economics
/ Man
/ Melody
/ Memoirs
/ Music
/ Music composition
/ Music genres
/ Music theory
/ musical activities
/ musical composition
/ Musical keys
/ Musical motives
/ Musical pitch
/ Musicians
/ Occupations
/ Performing arts
/ Popular music
/ Popular songs
/ Shoana
/ The Bee Song
/ Yes
2004
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Do you wish to request the book?
Keep on Keepin’ On
by
Ohl, Vicki
in
American Music
/ Art music
/ Art songs
/ Artists
/ Arts
/ Biography
/ children's songs
/ Composers
/ Economic disciplines
/ Economics
/ Employment
/ Have Pity Man
/ High culture
/ Historical methodology
/ Historiography
/ History
/ I Shall
/ Labor economics
/ Man
/ Melody
/ Memoirs
/ Music
/ Music composition
/ Music genres
/ Music theory
/ musical activities
/ musical composition
/ Musical keys
/ Musical motives
/ Musical pitch
/ Musicians
/ Occupations
/ Performing arts
/ Popular music
/ Popular songs
/ Shoana
/ The Bee Song
/ Yes
2004
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Book Chapter
Keep on Keepin’ On
2004
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Overview
Kay Swift remained active throughout the 1970s in her work and in her social life. For a septuagenarian, she was remarkably productive. Even though she may not have been working at her former pace, she continued to compose and pursue her musical activities. As in the 1960s, she wrote fewer popular songs and compositions and tended to write more pieces, both secular and sacred, that were classical in style. She also added to her cycle of children’s songs, with “Shoana,” a tribute to April’s granddaughter, who was born in 1970.
Swift returned in these years to her early practice of
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