DOCSLIB.ORG

The Flowering Thorn: International Ballad Studies

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Utah State University DigitalCommons@USU All USU Press Publications USU Press 1-1-2003 The loF wering Thorn Thomas A. McKean Follow this and additional works at: http://digitalcommons.usu.edu/usupress_pubs Part of the Folklore Commons Recommended Citation McKean, T. A. (2003). The flowering thorn: International ballad studies. Logan, Utah: Utah State University Press. This Book is brought to you for free and open access by the USU Press at DigitalCommons@USU. It has been accepted for inclusion in All USU Press Publications by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. The Flowering Thorn International Ballad Studies INTRO Flowering Thorn.p65 1 9/25/03, 02:16 INTRO Flowering Thorn.p65 2 9/25/03, 02:16 The Flowering Thorn International Ballad Studies edited by Thomas A. McKean A project of the Kommission für Volksdichtung and the Elphinstone Institute Utah State University Press Logan, Utah INTRO Flowering Thorn.p65 3 9/25/03, 02:16 Copyright © 2003 Utah State University Press All rights reserved Utah State University Press Logan Utah 84322–7800 Cover and book design and typesetting by Thomas A. McKean. Cover photograph: Hawthorn (Cratægus monogyna ), Schivas, Aberdeenshire, Scotland, June 2003, Thomas A. McKean. Library of Congress Cataloging-in-Publication Data The flowering thorn : international ballad studies / edited by Thomas A. McKean. p. cm. “A project of the Kommission für Volksdichtung and the Elphinstone Institute.” Includes bibliographical references (p. ) and index. ISBN 0-87421-568-4 (alk. paper) 1. Ballads—History and criticism. 2. Folk literature—History and criticism. I. McKean, Thomas A., 1961- ML3545.F596 2003 782.4’3—dc22 2003018611 INTRO Flowering Thorn.p65 4 9/25/03, 02:16 CONTENTS Introduction 1 Now Shes Fairly Altered Her Meaning: Interpreting Narrative Song 17 Healing the Spiders Bite: Ballad Therapy and Tarantismo Luisa Del Giudice 23 Music, Charm, and Seduction in British Traditional Songs and Ballads Vic Gammon 35 Places She Knew Very Well: The Symbolic Economy of Womens Travels in Traditional Newfoundland Ballads Pauline Greenhill 55 A Good Man Is Hard to Find: Positive Masculinity in the Ballads Sung by Scottish Women Lynn Wollstadt 67 Jesting with Edge Tools: The Dynamics of a Fragmentary Ballad Tradition Gerald Porter 77 The Servant Problem in Child Ballads Roger deV. Renwick 91 May Day and Mayhem: Portraits of a Holiday in Eighteenth-Century Dublin Ballads Cozette Griffin-Kremer 101 Malign Forces that Can Punish and Pardon: Structure and Motif 131 An Oddity of Catalan Folk Songs and Ballads Simon Furey 135 Barbara Allen and The Gypsy Laddie: Single-Rhyme Ballads in the Child Corpus William Bernard McCarthy 143 The Motif of Poisoning in Ukrainian Ballads Larysa Vakhnina 155 Contexts and Interpretations: The Walled-Up Wife Ballad and Other Related Texts Nicolae Constantinescu 161 Recapturing the Journey: Cruxes of Context, Version, and Transmission 169 The Life and Times of Rosie Anderson Sheila Douglas 175 Scholar, Antischolar: Sir Alexander Grays Translations of the Danish Ballads Larry Syndergaard 183 George Collins in Hampshire David Atkinson 193 From France to Brazil via Germany and Portugal: The Meandering Journey of a Traditional Ballad J. J. Dias Marques 205 The White Fisher: An Illegitimate Child Ballad from Aberdeenshire Julia C. Bishop 219 INTRO Flowering Thorn.p65 5 9/25/03, 02:16 Regions, Reprints, and Repertoires 245 Ballad Singing in New Deer Katherine Campbell 249 Old Flemish Songbook Reprints Stefaan Top 257 Chants Populaires Flamands (1879): A Scholarly Field Collection and an Early Individual Repertoire Isabelle Peere 265 The Corpus of French Ballads Michele` Simonsen 285 The Slovenian Folk and Literary Ballad Marjetka Gole Kauèiè 295 Scotlands Nordic Ballads Frances J. Fischer 307 Simon Frasers Airs and Melodies (1816): An Instrumental Collection as a Source of Scottish Gaelic Songs Mary Anne Alburger 319 Purement scientifique et archéologique: The Mediating Collector 337 The Case against Peter Buchan Sigrid Rieuwerts 341 Ballad Raids and Spoilt Songs: Collection as Colonization Valentina Bold 353 The Contribution of D. K. Wilgus to Ballad and Folksong Scholarship David G. Engle, James Porter, and Roger deV. Renwick 363 Acknowledgements 377 Notes on the Contributors 379 General Index 383 Song Title Index 387 INTRO Flowering Thorn.p65 6 9/25/03, 02:16 1 Introduction Thomas A. McKean Thoull break my heart, thou warbling bird, That wantons thro the flowering thorn: Thou minds me o departed joys, Departed never to return. Robert Burns1 The flowering thorn expresses the dual nature of the ballad: at once a distinctive expression of European tradition,2 but also somewhat tricky to approach from a scholarly perspective, requiring a range of disciplines to illuminate its rich com- position. Much of this latter quality has to do with the very features that charac- terize ballads, erzählenden Lieder, or narrative songs.3 These include an appearance of fragmentation, a wide range of cultural and social referents, com- plex, evocative symbolic language, and variation. The notable multiformity of meaning, text, and tune is mirrored in scholarship, too. The Flowering Thorn is therefore wide ranging, with articles written by world authorities from the fields of folklore, history, literature, and ethnology, employing a variety of methodologiesstructuralism to functionalism, reper- toire studies to geographical explorations of cultural movement and change. The twenty-five selected contributions represent the latest trends in ballad scholar- ship, embracing the multidisciplinary nature of the field today. The essays have their origins in the 1999 International Ballad Conference of the Kommission für Volksdichtung (KfV), which focused particularly on ballads and social context, performance and repertoire, genre, motif, and classification. The revised, tailored, and expanded essays are divided into five sectionsthe interpretation of narra- tive song; structure and motif; context, version, and transmission; regions, re- prints, and repertoires; and the mediating collectoroffering a range of examples from fifteen different cultures, ten of them drawing on languages other than English, resulting in a series of personal journeys to the heart of one of Europes richest, most enduring cultural creations. While articles are tightly focused on their central themes, they naturally create cross currents that enrich the entire book. Some of these common themes, seen from very different perspectives, include gender issues, collecting and editing as cultural translation, the vigorous life of literary ballads in the oral tradition, 1 2 Introduction the reemergence of class as a significant aspect of both text and performance, and the long-running dynamic relationship between oral and printed sources. On a fundamental level, though, each article explores the creation of meaning: semantic meaning based on close textual analysis; structural and thematic meaning emerg- ing from study of commonplaces, verse form, and characterization; cultural mean- ing as embodied in performance and transmission; and meaning as created through the mediations of collection, edition, and translation. To a great extent, the essays collectively address questions of cultural stability, often at the heart of any discus- sion of tradition, showing the multifaceted, and subjective, nature of meaning, function, and significance in the ballad world. What is it, then, about ballads, some of the finest specimens of human creativity (Dundes 1996: xi), that allows such diversity of interpretation? Balladsas hard to define as they are easy to recognize, in Hodgarts memo- rable phrase (1962: 10)survive through varying fashions and cultural changes, moving back and forth between oral and written traditions, and maintain a fierce existence in the modern world, coming again into bloom when sung (see Bronson 195972: ix). In surviving through change, they achieve a kind of cultural stabil- ity, a phrase which may, in some ways, be thought of as synonymous with tradition. Paradoxically, if there is one characteristic shared by traditional songs throughout the world, it is variation (see Coffin 1977: 119), but variation and change that takes place within a particular, relatively stable framework. While the popular ballad may no longer be popular in literal terms, nor in school curricula as frequently as it once was, it remains one of the most intriguing of all artistic expressions. The narrative song tradition, wrote David Buchan, gives expression to the cultural preoccupations ofand sometimes the sense of identity ofa given group (1994: 377), and more than that, as Brendáin Ó Madagáin has shown in Ireland, song can function as emotional release on occasions when feelings were such that ordinary speech was inadequate (1985: 143). For the Inuit, songs are thoughts, sung out with the breath when people are moved by great forces and ordinary speech no longer suffices (Rasmussen 1931: 321). In Romanian and Slovenian tradition, an entire world of legend is played out through the medium of these songs (see, for example, Constantinescu in this volume; Ispas 2000; and Kumer 1988). In Germany, songs can combine the real and the histori- cal to yield a rounded vision of human experience (Dittmar 1985: 531; also com- pare Vargyas 1979; Buchan 1976). In Spain, Mexico, Hungary, and Italy, to name just a few countries with strong traditions, ballads can become Introduction 3 the substance of social
Recommended publications
  • Barbara Allen

    Barbara Allen

    120 Charles Seeger Versions and Variants of the Tunes of "Barbara Allen" As sung in traditional singing styles in the United States and recorded by field collectors who have deposited their discs and tapes in the Archive of American Folk Song in the Library of Congress, Washington, D.C. AFS L 54 Edited by Charles Seeger PROBABLY IT IS safe to say that most English-speaking people in the United States know at least one ballad-tune or a derivative of one. If it is not "The Two Sisters, " it will surely be "When Johnny Comes Marching Home"; or if not "The Derby Ram, " then the old Broadway hit "Oh Didn't He Ramble." If. the title is given or the song sung to them, they will say "Oh yes, I know tllat tune." And probably that tune, more or less as they know it, is to them, the tune of the song. If they hear it sung differently, as may be the case, they are as likely to protest as to ignore or even not notice the difference. Afterward, in their recognition or singing of it, they are as likely to incor­ porate some of the differences as not to do so. If they do, they are as likely to be aware as to be entirely unconscious of having done ·so. But if they ad­ mit the difference yet grant that both singings are of "that" tune, they have taken the first step toward the study of the ballad-tune. They have acknow­ ledged that there are enough resemblances between the two to allow both to be called by the same name.
  • English 577.02 Folklore 2: the Traditional Ballad (Tu/Th 9:35AM - 10:55AM; Hopkins Hall 246)

    English 577.02 Folklore 2: the Traditional Ballad (Tu/Th 9:35AM - 10:55AM; Hopkins Hall 246)

    English 577.02 Folklore 2: The Traditional Ballad (Tu/Th 9:35AM - 10:55AM; Hopkins Hall 246) Instructor: Richard F. Green ([email protected]; phone: 292-6065) Office Hours: Wednesday 11:30 - 2:30 (Denney 529) Text: English and Scottish Popular Ballads, ed. F.J. Child, 5 vols (Cambridge, Mass.: 1882- 1898); available online at http://www.bluegrassmessengers.com/the-305-child-ballads.aspx.\ August Thurs 22 Introduction: “What is a Ballad?” Sources Tues 27 Introduction: Ballad Terminology: “The Gypsy Laddie” (Child 200) Thurs 29 “From Sir Eglamour of Artois to Old Bangum” (Child 18) September Tues 3 Movie: The Songcatcher Pt 1 Thurs 5 Movie: The Songcatcher Pt 2 Tues 10 Tragic Ballads Thurs 12 Twa Sisters (Child 10) Tues 17 Lord Thomas and Fair Annet (Child 73) Thurs 19 Romantic Ballads Tues 24 Young Bateman (Child 53) October Tues 1 Fair Annie (Child 62) Thurs 3 Supernatural Ballads Tues 8 Lady Isabel and the Elf Knight (Child 4) Thurs 10 Wife of Usher’s Well (Child 79) Tues 15 Religious Ballads Thurs 17 Cherry Tree Carol (Child 54) Tues 22 Bitter Withy Thurs 24 Historical & Border Ballads Tues 29 Sir Patrick Spens (Child 58) Thurs 31 Mary Hamilton (Child 173) November Tues 5 Outlaw & Pirate Ballads Thurs 7 Geordie (Child 209) Tues 12 Henry Martin (Child 250) Thurs 14 Humorous Ballads Tues 19 Our Goodman (Child 274) Thurs 21 The Farmer’s Curst Wife (Child 278) S6, S7, S8, S9, S23, S24) Tues 24 American Ballads Thurs 26 Stagolee, Jesse James, John Hardy Tues 28 Thanksgiving (PAPERS DUE) Jones, Omie Wise, Pretty Polly, &c.
  • Oral Tradition 29.1

    Oral Tradition 29.1

    Oral Tradition, 29/1 (2014):47-68 Voices from Kilbarchan: Two versions of “The Cruel Mother” from South-West Scotland, 1825 Flemming G. Andersen Introduction It was not until the early decades of the nineteenth century that a concern for preserving variants of the same ballad was really taken seriously by collectors. Prior to this ballad editors had been content with documenting single illustrations of ballad types in their collections; that is, they gave only one version (and often a “conflated” or “amended” one at that), such as for instance Thomas Percy’s Reliques of Ancient English Poetry from 1765 and Walter Scott’s Minstrelsy of the Scottish Border from 1802. But with “the antiquarian’s quest for authenticity” (McAulay 2013:5) came the growing appreciation of the living ballad tradition and an interest in the singers themselves and their individual interpretations of the traditional material. From this point on attention was also given to different variations of the same ballad story, including documentation (however slight) of the ballads in their natural environment. William Motherwell (1797-1835) was one of the earliest ballad collectors to pursue this line of collecting, and he was very conscious of what this new approach would mean for a better understanding of the nature of an oral tradition. And as has been demonstrated elsewhere, Motherwell’s approach to ballad collecting had an immense impact on later collectors and editors (see also, Andersen 1994 and Brown 1997). In what follows I shall first give an outline of the earliest extensively documented singing community in the Anglo-Scottish ballad tradition, and then present a detailed analysis of two versions of the same ballad story (“The Cruel Mother”) taken down on the same day in 1825 from two singers from the same Scottish village.
  • The Creighton-Senior Collaboration, 1932-51

    The Creighton-Senior Collaboration, 1932-51

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Athabasca University Library Institutional Repository The Creighton-Senior Collaboration, 1932-51 The arrival of Doreen Senior in Halifax in the book, and she was looking for a new collaborator summer of 1932 was a fortuitous event for Canadian who could note the melodies while she wrote down folksong collecting. Doreen, a friend and disciple of the words. In her autobiography, A Life in Folklore, Maud Karpeles, was a folk and country dance she recalled her first meeting with Doreen in the instructor, trained by the English Folk Dance Society, following terms: who anticipated a career as a music teacher making good use of Cecil Sharp's published collections of For years the Nova Scotia Summer School had Folk Songs for Schools. She was aware that Maud been bringing interesting people here, and one day I was invited to meet a new teacher, Miss had recently undertaken two successful collecting Doreen Senior of the English Folk Song and trips to Newfoundland (in 1929 and 1930), and was Dance Society. She liked people and they liked curious to see if Nova Scotia might similarly afford her to such an extent that whenever I met one of interesting variants of old English folksongs and her old summer school students in later years, ballads, or even songs that had crossed the Atlantic they would always ask about her. She was a and subsequently disappeared in their more urban and musician with the gift of perfect pitch and she industrialized land of origin.

  • A Collection of Ballads

    A COLLECTION OF BALLADS INTRODUCTION When the learned first gave serious attention to popular ballads, from the time of Percy to that of Scott, they laboured under certain disabilities. The Comparative Method was scarcely understood, and was little practised. Editors were content to study the ballads of their own countryside, or, at most, of Great Britain. Teutonic and Northern parallels to our ballads were then adduced, as by Scott and Jamieson. It was later that the ballads of Europe, from the Faroes to Modern Greece, were compared with our own, with European Märchen, or children’s tales, and with the popular songs, dances, and traditions of classical and savage peoples. The results of this more recent comparison may be briefly stated. Poetry begins, as Aristotle says, in improvisation. Every man is his own poet, and, in moments of stronge motion, expresses himself in song. A typical example is the Song of Lamech in Genesis— “I have slain a man to my wounding, And a young man to my hurt.” Instances perpetually occur in the Sagas: Grettir, Egil, Skarphedin, are always singing. In Kidnapped, Mr. Stevenson introduces “The Song of the Sword of Alan,” a fine example of Celtic practice: words and air are beaten out together, in the heat of victory. In the same way, the women sang improvised dirges, like Helen; lullabies, like the lullaby of Danae in Simonides, and flower songs, as in modern Italy. Every function of life, war, agriculture, the chase, had its appropriate magical and mimetic dance and song, as in Finland, among Red Indians, and among Australian blacks.
  • Andrew Lang - Poems

    Andrew Lang - Poems

    Classic Poetry Series Andrew Lang - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Andrew Lang(31 March 1844 - 20 July 1912) LAndrew Lang was a Scots poet, novelist, literary critic, and contributor to the field of anthropology. He is best known as a collector of folk and fairy tales. The Andrew Lang lectures at the University of St Andrews are named after him. <b>Biography</b> Lang was born in Selkirk. He was the eldest of the eight children born to John Lang, the town clerk of Selkirk, and his wife Jane Plenderleath Sellar, who was the daughter of Patrick Sellar, factor to the first duke of Sutherland. On 17 April 1875 he married Leonora Blanche Alleyne, the youngest daughter of C. T. Alleyne of Clifton and Barbados. He was educated at Selkirk grammar school, Loretto, and at the Edinburgh Academy, St Andrews University and at Balliol College, Oxford, where he took a first class in the final classical schools in 1868, becoming a fellow and subsequently honorary fellow of Merton College. As a journalist, poet, critic and historian, he soon made a reputation as one of the most able and versatile writers of the day. He died of angina pectoris at the Tor-na-Coille Hotel in Banchory, Banchory, survived by his wife. He was buried in the cathedral precincts at St Andrews. <b>Professions</b> <b>Folklore and anthropology</b> Lang is now chiefly known for his publications on folklore, mythology, and religion. The interest in folklore was from early life; he read John McLennan before coming to Oxford, and then was influenced by E.
  • Bibliography -.:: GEOCITIES.Ws

    Bibliography -.:: GEOCITIES.Ws

    Dream Weaver: Charles Lloyd - His Life and Music 111 Bibliography KEY TO THE REFERENCES In the bibliography only publications are included for which sufficient data are available that the reader can easily find the literature. Criteria are: Magazines and papers: Name, date or issue number and year, or volume and issue number and year. If known the (first) page number is included. In most cases the publication can be found without knowing the exact page number using the index of the publication. Books: Author(s), title, publisher (if known) and year of publication. Name of the publication: The names are abbreviated using 2 to 4 capitals. Short names like Mojo and Vibe are not abbreviated. The language of the publication is indicated by 2 capitals, The key to abbreviations is given below. Examples: Daily or (bi)weekly publications: 1 or 2 digits for month / 1 or 2 digits for the day / last two digits of the year - first page number (if known): DB 6/27/68 EN = Down Beat, June 27, 1967, page number unknown, published in English. Monthly publications: 1 or 2 digits for month / last two digits of the year - first page number (if known): DB 10/00-62 EN = Down Beat October 2000, page 62, published in English. Less frequent publications like bimonthly or quarterly publications: 1 or 2 digits for the first month - 1 or 2 digits for the last month / last two digits of the year - first page number (if known). In some cases the seasons are used: WI - Winter, SP = Spring, SU = Summer and FA = Fall: JTK 7-8/94-70 GE = Jazzthetik, July-August 1994, page 70, published in German JRP SU/99-31 EN = Jazz Report, Summer 1999, page 31, published in English.
  • Jock Duncan Archive

    Jock Duncan Archive

    Ye Shine Whar Ye Stan! Jock uncan SCOTTISHD SONG: the north-east tradition 1 Contents OCK DUNCAN was brought up in the ballad-rich Introduction: 1 farming country around New Deer and Fyvie in Aber- deenshire. He has been singing traditional songs and 1 Gruel 3 Jbothy ballads as long as he can remember. 2 Rhynie 4 Jockʼs father had the farm of Gelliebrae beside New Deer 3 Lothian Hairst 5 and Jock was born there in 1925. Three years later Jockʼs father took over at South Faddenhill of Fyvie when Jockʼs Hairstersʼ Reel grandfather gave up the farm. Jock grew up to take his part 4 Cruel Mother 6 in the every day work of the farm and by the age of 10 he 5 Hash o Benagoak 7 was good enough to be driving a horse at the plough. 6 Bogieʼs Bonnie Belle 8 One of the major influences on Jockʼs music was his mother. Jock writes: My mother was what I would term 7 Glenlogie 9 ʻthe stang o the trumpʼ [the best of the bunch], a fine pian- 8 Bonnie Udny 11 ist and accompanist to the many fine fiddle players who 9 Bonnie Lass o Fyvie 11 graced the great splores [house ceilidhs] she organised in the ben the hoose end at Faddenhill. We could listen or 10 13 Sleepytoon participate – singing the ald Scots sangs and ballads, the 11 Mormond Braes 14 ald bothy ballads and the new cornkisters of Willie Kemp 12 The Hairst o Rettie 15 and George Morris. They were my pop idols made famous 13 Macfarlan o the Sprotts 16 with the advent of their ʻ78ʼ Beltona records in the early 1930s.
  • Edinburgh Research Explorer

    Edinburgh Research Explorer

    Edinburgh Research Explorer From fairy queens to ogresses Citation for published version: Dunnigan, S 2016, 'From fairy queens to ogresses: Female enchanters in early Scottish literature', The Bottle Imp, vol. 20. <http://www.arts.gla.ac.uk/ScotLit/ASLS/SWE/TBI/TBIIssue20/Dunnigan.html> Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: The Bottle Imp General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 27. Sep. 2021 ISSN 1754-1514 poetry, and explored most fully in Lizanne Henderson and Edward Cowan’s definitive study of Scottish fairy lore.3 In one, known as the ballad of ‘Kind Kittok’, a widower The narrates the story of his former ‘guddame’ whose afterlife is spent in ‘ane ailhouse near hevin’, brewing and baking.4 This is a post- Bottle humous profession enabled by her sojourn near ‘ane elrich well’.5 There she meets ‘ane ask rydand on ane snail / Scho cryd ourtane Imp fallow hail hail / And raid ane inch behind the tail / Quhill it wes neir Ene’.6 This bizarre image, as if a cross between paintings by Issue 20, December 2016 Hieronymus Bosch and the Scottish Victorian From Fairy Queens to Ogresses: Female fairy artist, Joseph Noel Paton, is wholly Enchanters in Early Scottish Literature characteristic of Bannatyne’s ‘eldritch’ vein – Sarah Dunnigan carnivalesque and comic.
  • Frequency List

    Frequency List

    Ranking Frequency List 3501 1) 23903 (4.19%) 27) 3221 (0.564%) 53) 1589 (0.278%) 78) 1054 (0.185%) 103) 694 (0.122%) the is out we some 2) 20303 (3.56%) 28) 3201 (0.561%) 54) 1582 (0.277%) 79) 1046 (0.183%) 104) 689 (0.121%) And as down Nor mother 3) 12989 (2.27%) 29) 3008 (0.527%) 55) 1574 (0.276%) 80) 1019 (0.178%) 105) 685 (0.120%) to him What no here 4) 11511 (2.02%) 30) 2996 (0.525%) 56) 1560 (0.273%) 81) 1014 (0.178%) 106) 679 (0.119%) a will see bonny nae 5) 10028 (1.76%) 31) 2492 (0.436%) 57) 1545 (0.271%) 82) 1009 (0.177%) 107) 665 (0.116%) I Then If father take 6) 9557 (1.67%) 32) 2265 (0.397%) 58) 1509 (0.264%) 83) 989 (0.173%) 108) 662 (0.116%) he at man thy gae 7) 8855 (1.55%) 33) 2234 (0.391%) my with 59) 1482 (0.260%) 84) 984 (0.172%) 109) 660 (0.116%) I’ll never like 8) 6968 (1.22%) 34) 2224 (0.389%) in there 60) 1468 (0.257%) 85) 956 (0.167%) 110) 657 (0.115%) them are from 9) 6746 (1.18%) 35) 2215 (0.388%) green O lady 61) 1439 (0.252%) 86) 937 (0.164%) has men 111) 649 (0.114%) 10) 6260 (1.10%) 36) 2178 (0.381%) She’s her this 62) 1436 (0.251%) 87) 933 (0.163%) fair He’s 112) 646 (0.113%) 11) 6071 (1.06%) 37) 2112 (0.370%) yon that come 63) 1431 (0.251%) 88) 924 (0.162%) were dear 113) 644 (0.113%) 12) 5893 (1.03%) 38) 2092 (0.366%) been me by 64) 1374 (0.241%) 89) 912 (0.160%) now well 114) 623 (0.109%) 13) 5642 (0.988%) 39) 2011 (0.352%) It’s his wi 65) 1330 (0.233%) 90) 884 (0.155%) shall one 115) 622 (0.109%) 14) 5640 (0.988%) 40) 1896 (0.332%) get for all 66) 1326 (0.232%) 91) 869 (0.152%) gold so hand made 15)
  • Musicians with Complex Racial Identifications in Mid-Twentieth Century American Society

    Musicians with Complex Racial Identifications in Mid-Twentieth Century American Society

    “CASTLES MADE OF SAND”: MUSICIANS WITH COMPLEX RACIAL IDENTIFICATIONS IN MID-TWENTIETH CENTURY AMERICAN SOCIETY by Samuel F.H. Schaefer A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Public History Middle Tennessee State University December 2018 Thesis Committee: Dr. Kristine McCusker, Chair Dr. Brenden Martin To my grandparents and parents, for the values of love and empathy they passed on, the rich cultures and history to which they introduced me, for modeling the beauty of storytelling, and for the encouragement always to question. ii ACKNOWLEDGEMENTS For serving on my committee, encouraging me to follow my interests in the historical record, great patience, and for invaluable insights and guidance, I would like to thank Dr. Brenden Martin and especially Dr. Kristine McCusker, my advisor. I would also like to thank Dr. Thomas Bynum and Dr. Louis Woods for valuable feedback on early drafts of work that became part of this thesis and for facilitating wonderful classes with enlightening discussions. In addition, my sincere thanks are owed to Kelle Knight and Tracie Ingram for their assistance navigating the administrative requirements of graduate school and this thesis. For helpful feedback and encouragement of early ideas for this work, I thank Dr. Walter Johnson and Dr. Charles Shindo for their commentary at conferences put on by the Louisiana State University History Graduate Student Association, whom I also owe my gratitude for granting me a platform to exchange ideas with peers. In addition, I am grateful for the opportunities extended to me at the National Museum of African American Music, the Musicians Hall of Fame and Museum, and the Center for Popular Music, which all greatly assisted in this work’s development.
  • The Scottish Ballads

    The Scottish Ballads

    TH E SCO TTI SH BALLADS ; CO LLECTED AN D ILL UST RATED T MB E R O B E R C HA R S, ” A U TH O R O F T R D T ON O F D N B U RGH T H E A I I S E I , P T U RE O F O T N D 8cc . IC SC LA , EDIN BU RGH ‘ wt intea by afi auautpne ant Gompam} . ffl t LLAMT 78 PR N CES T W TA S EET . I I I , I R MD C ! ! ! . C C I P RE F AC E . S I NCE the publication o f a few Sco ttish Bal a s “ P e in 1 755 ut e s ec ia u n l d by rcy, , b p lly d ri g th e e s en c en u th e u ic ave een ut pr t t ry, p bl h b p in po s s e s sion O f many various c oll e c tions Of pO p ular narrative po e try ; a mo ng which the c hief L— ’ are Sir Walt e r Scot t s Mi ns tr elsy o f the S c o t ’ i B e 1 80l —Jamieso n s P u a B a a s t sh ord r , op l r ll d ’ an d S n s 1 806—F n a s Hi a and Ro o g , i l y storic l ’ man c B a a s l SOS—Kin c s An cien B al ti ll d , lo h t ’ ’ a 1 82 6—Mo ther well s ns e nc e nt l ds , Mi tr lsy, A i ’ an d e n 1 827—and B u an s An ient Mod r , ch c B a a s o f the N O f S an 1 828 .