Each singer (of the so-called folk variety), is recognized as much from its characteristic sound, as from what they actually sing or play, and they manipulate tone colour with a virtuosity that owes nothing to either the classical, or the Tin Pan Alley tradition; one thinks, for example, of the voice of Elvis Presley, an expressive vehicle, shifting from high to low tones, groaning, slurring, and producing breathless changes of rhythm; to many listeners, the voice may have seemed crude, but its folk immediately resided in its crudeness.

What It Means

This is a placeholder explanation generated by the low-overhead model. It interprets "Each singer (of the so-called folk variety), is recognized as much from its characteristic sound, as from what they actually sing or play, and they manipulate tone colour with a virtuosity that owes nothing to either the classical, or the Tin Pan Alley tradition; one thinks, for example, of the voice of Elvis Presley, an expressive vehicle, shifting from high to low tones, groaning, slurring, and producing breathless changes of rhythm; to many listeners, the voice may have seemed crude, but its folk immediately resided in its crudeness." in the context of "Christopher Small, in his book "Music, Society, and Education", published in 1996" to mean that wisdom is timeless.