Master Timeline

Total Page:16

File Type:pdf, Size:1020Kb

Master Timeline BURNSVILLE AND MARION PROVIDERS AND TUNES Sweet William Anna Bailey Burnsville NC 19-Sep Come All Yoiu Fair and Tender Ladies 19-Sep Giles Collins 19-Sep Lord Thomas and Fair Ellinor BecKy Mitchell Burnsville NC 22-Sep Come All You Fair and Tender Ladies 24-Sep George Reilly 25-Sep The Ground Hog David and Ellen Webb Burnsville NC 22-Sep Sally Anne 6-Oct The Gypsie Laddie Dellie Hughes Burnsville NC 5-Oct The Gypsy Laddie 5-Oct Will You Wear Red? 6-Oct Sally Ann 9-Oct Sandy Jig 9-Oct The Three Butchers 9-Oct Good Time A-Coming (jig) 9-Oct Eveline (jig) 9-Oct Come All Ye Fair AndTender Ladies 9-Oct The Two Sisters 9-Oct Sally Anne Jig, 9-Oct O This Door LocKed 9-Oct The Shad (jig) 9-Oct Poor Stranger or I'm Going to Georgia 9-Oct Street Cries DuKe Hay Winston Salem, NC 1-Sep The BroKen ToKen Effie Mitchell Burnsville NC 12-Sep The Wife of Usher's Well 12-Sep The Maid Freed from the Gallows 12-Sep The Cruel Ship's Carpenter 12-Sep Come All Ye Fair and Tender Ladies, 12-Sep Little Musgrage and Lady Barnard 27-Sep Katie Morey 27-Sep Two Sisters 27-Sep True Lover's Farewell 27-Sep The Trooper and the Maid 29-Sep If You Want To Go A-Courting/ When Boys Go A Courting, 29-Sep The Gipsie Laddie 29-Sep The Rambling Boy 6-Oct The Frog and the Mouse 6-Oct Pain Across My Breast 6-Oct The Old BlacK DucK 6-Oct Every Night When the Sun Goes In 6-Oct The False Young Maid Ellen Webb Burnsville NC 22-Sep Barber's Cry 22-Sep Keys of Heaven 22-Sep CocK Robin 22-Sep Bye and Bye 22-Sep The Elfin Knight 22-Sep JacK he Went A Sailing 21-Sep The Derby Ram 21-Sep Pretty Saro 21-Sep True Lover's Farewell 21-Sep Grassy Knob 21-Sep The Golden Vanity 21-Sep The Gipsy Laddie 21-Sep The Poor Stranger 21-Sep The BrisK Yoiung Lover 21-Sep The Irish Girl 21-Sep I Love my Love 21-Sep The BroKen ToKen 21-Sep Old Zip Coon 21-Sep The Old Woman 21-Sep The Little Piggee 21-Sep Lord thomas and Fair Ellinor Emily Josephine Snipes Marion NC 4-Sep Barbara Ellen 4-Sep Oh, Mama I Wish I'd Listen to You Florence Harden Burnsville NC 19-Sep The Lost Babe Hannah Mitchell Burnsville NC 29-Sep The Cruel Ship's Carpenter 29-Sep Lord thomas and Fair Ellinor Ida BanKs Burnsville NC 16-Sep Sweet Willimam 16-Sep JacK Went A Sailing 16-Sep The Golden Vanity 16-Sep The Miller's Will 16-Sep When Adam Was Created Jasper Robertson Burnsville NC 29-Sep HicK's Farewell 29-Sep The Crucifixion 29-Sep The Mouldering Vine 29-Sep When Adam Was Created John Allen Burnsville NC 7-Oct The Lone Prairie 7-Oct The Poor Stranger 7-Oct The Hurricane 7-Oct Shanadar (Sea Chanty) 7-Oct The Ten Commandments Joseph Gibson Marion NC 10-Sep The Cruel Mother Julie Boone Burnsville NC 25-Sep Sweet William 25-Sep CocK Robin 25-Sep Barbara Allan 25-Sep The Poor Stranger or The CucKoo 25-Sep When I irist Did Part 25-Sep The False Young Man 25-Sep The Wife of Ushr's Well 25-Sep Lord Thomas and Fair Ellinor 25-Sep Sweet William and Lady Margaret 25-Sep The Noble Man 26-Sep The DrunKards Dream 26-Sep The Single Girl 26-Sep Lulie 26-Sep True Lover's Farewell 26-Sep The Lady and the Dragoon 26-Sep George Reilly 26-Sep The Old Grey Mare 26-Sep Pretty Saro 3-Oct In Seaport Town 3-Oct The Daemon Lover 3-Oct Charlie's Swee 3-Oct Pharoah's Army 3-Oct Geordie 3-Oct Sir Hugh 3-Oct Swannanoa Town 3-Oct The Sinner 8-Oct Brother Green 8-Oct The MocKing Bird 8-Oct The DrunKard's Warning Mary BlanKenship Burnsville NC 5-Oct Edwin in the Lowland Low 5-Oct Lord Thomas and Fair Ellinor 5-Oct The Lady and the Dragoon 5-Oct The Wife of Usher's Well 5-Oct Sweet William 5-Oct O No John Mary Gibson Winston Salem, NC 2-Sep Mac Fee's Confession or Macafee'sConfession Winston Salem, NC 2-Sep The Sheffield Apprentice Marion NC 7-Sep Young Hunting Mr. Laurel Jones Burnsville NC 17-Sep Bonny 17-Sep Some Love 17-Sep Coffee Play Game 17-Sep Single Girl 17-Sep The Two sisters 17-Sep Frog in the Meadow Nursery Rhyme 17-Sep The Old Grey Goosex 17-Sep The Maid Freed from the Gallows 17-Sep Little Maggie, 17-Sep O Girls Remember Me 17-Sep I'm 17 Come Sunday, 17-Sep Sweet William Mrs. Anna Bailey Burnsville NC 19-Sep Come All You Fair and Tender Ladies 19-Sep Giles Colliins 19-Sep I'm 17 Come Sunday Mrs. Clercy Deeton Burnsville NC 19-Sep The Gambling Man 19-Sep The Two Sisters 19-Sep Young Hunting 19-Sep Lordthomas and Fair Ellinor Mrs. Ef Chrisom Burnsville NC 3-Oct The Blind Beggar's Daughter of Efnal Green 3-Oct The Deaf Woman's Courtship Mrs. Emma Early Marion NC 8-Sep The Paper of Pins 8-Sep The Keys of Heaven 8-Sep Macafee's Confession Mrs. Gibson Marion NC 4-Sep Barbara Allen Mrs. Godfrey Marion NC 3-Sep O No John 3-Sep The Carrion Crow 3-Sep Lord Thomas and Fair Ellinor 3-Sep The Battle of Manassas 3-Sep The brisK Young Lover 3-Sep Come All Ye Southern Soldiers 3-Sep The Lover's Lament 3-Sep The Wife of Usher's Well 3-Sep Farewell Sweet Jane 3-Sep The Lonesome Grove, 3-Sep The BroKen ToKen, 3-Sep Brady 3-Sep Our Goodman Polly Mitchell Burnsville NC 22-Sep The Elfin Knight Lord Rendal Sina Boone Burnsville NC 28-Sep CocK Robin 28-Sep WicKed Polly 28-Sep The BrisK Young Lover 28-Sep Come All Ye Southern Soldiers 28-Sep Lord Thomas and Fair Ellinor 28-Sep The Poor Stranger 28-Sep The CucKoo or The Poor Stranger 28-Sep The Wife of Usher's Well 28-Sep The Mermaid 28-Sep The Maid Freed From the Gallows 28-Sep Samuel Young 28-Sep In Seaport Town 28-Sep Lord Lovel 28-Sep Come All Ye Fair and Tender Ladies 28-Sep If You Want to Go A-Courting 28-Sep Lady Isabel and the Elf Knight 28-Sep Edwin In The Lowlands 28-Sep Isabel and The Elf Knight 1-Oct Christ Was Born in Bethlehem 1-Oct CocK Robin 1-Oct Lula 1-Oct The Melancholy Call 1-Oct The Irish Girl 1-Oct Where Now is Good Old Noe? 1-Oct The Daemon Lover Virginia Bennett Burnsville NC 13-Sep O then 13-Sep Barbara Ellen 13-Sep Fair margaret and Sweet William 13-Sep Lord Thomas and Fair Ellinor 13-Sep The Two Brothers 13-Sep William Hall 13-Sep Young Hunting 13-Sep The Brown Girl 13-Sep The Doting Miser 18-Sep The CucKoo 18-Sep Brother Green 18-Sep The Lone Prairie 18-Sep 197 TOTAL TUNES.
Recommended publications
  • Social Issues in Ballads and Songs, Edited by Matilda Burden
    SOCIAL ISSUES IN BALLADS AND SONGS Edited by MATILDA BURDEN Kommission für Volksdichtung Special Publications SOCIAL ISSUES IN BALLADS AND SONGS Social Issues in Ballads and Songs Edited by MATILDA BURDEN STELLENBOSCH KOMMISSION FÜR VOLKSDICHTUNG 2020 Kommission für Volksdichtung Special Publications Copyright © Matilda Burden and contributors, 2020 All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the copyright owners. Peer-review statement All papers have been subject to double-blind review by two referees. Editorial Board for this volume Ingrid Åkesson (Sweden) David Atkinson (England) Cozette Griffin-Kremer (France) Éva Guillorel (France) Sabina Ispas (Romania) Christine James (Wales) Thomas A. McKean (Scotland) Gerald Porter (Finland) Andy Rouse (Hungary) Evelyn Birge Vitz (USA) Online citations accessed and verified 25 September 2020. Contents xxx Introduction 1 Matilda Burden Beaten or Burned at the Stake: Structural, Gendered, and 4 Honour-Related Violence in Ballads Ingrid Åkesson The Social Dilemmas of ‘Daantjie Okso’: Texture, Text, and 21 Context Matilda Burden ‘Tlačanova voliča’ (‘The Peasant’s Oxen’): A Social and 34 Speciesist Ballad Marjetka Golež Kaučič From Textual to Cultural Meaning: ‘Tjanne’/‘Barbel’ in 51 Contextual Perspective Isabelle Peere Sin, Slaughter, and Sexuality: Clamour against Women Child- 87 Murderers by Irish Singers of ‘The Cruel Mother’ Gerald Porter Separation and Loss: An Attachment Theory Approach to 100 Emotions in Three Traditional French Chansons Evelyn Birge Vitz ‘Nobody loves me but my mother, and she could be jivin’ too’: 116 The Blues-Like Sentiment of Hip Hop Ballads Salim Washington Introduction Matilda Burden As the 43rd International Ballad Conference of the Kommission für Volksdichtung was the very first one ever to be held in the Southern Hemisphere, an opportunity arose to play with the letter ‘S’ in the conference theme.
    [Show full text]
  • INTERPRETING POETRY: English and Scottish Folk Ballads (Year 5, Day Department, 2016) Assignments for Self-Study (25 Points)
    The elective discipline «INTERPRETING POETRY: English and Scottish Folk Ballads (Year 5, day department, 2016) Assignments for Self-Study (25 points) Task: Select one British folk ballad from the list below, write your name, perform your individual scientific research paper in writing according to the given scheme and hand your work in to the teacher: Titles of British Folk Ballads Students’ Surnames 1. № 58: “Sir Patrick Spens” 2. № 13: “Edward” 3. № 84: “Bonny Barbara Allen” 4. № 12: “Lord Randal” 5. № 169:“Johnie Armstrong” 6. № 243: “James Harris” / “The Daemon Lover” 7. № 173: “Mary Hamilton” 8. № 94: “Young Waters” 9. № 73:“Lord Thomas and Annet” 10. № 95:“The Maid Freed from Gallows” 11. № 162: “The Hunting of the Cheviot” 12. № 157 “Gude Wallace” 13. № 161: “The Battle of Otterburn” 14. № 54: “The Cherry-Tree Carol” 15. № 55: “The Carnal and the Crane” 16. № 65: “Lady Maisry” 17. № 77: “Sweet William's Ghost” 18. № 185: “Dick o the Cow” 19. № 186: “Kinmont Willie” 20. № 187: “Jock o the Side” 21. №192: “The Lochmaben Harper” 22. № 210: “Bonnie James Campbell” 23. № 37 “Thomas The Rhymer” 24. № 178: “Captain Car, or, Edom o Gordon” 25. № 275: “Get Up and Bar the Door” 26. № 278: “The Farmer's Curst Wife” 27. № 279: “The Jolly Beggar” 28. № 167: “Sir Andrew Barton” 29. № 286: “The Sweet Trinity” / “The Golden Vanity” 30. № 1: “Riddles Wisely Expounded” 31. № 31: “The Marriage of Sir Gawain” 32. № 154: “A True Tale of Robin Hood” N.B. You can find the text of the selected British folk ballad in the five-volume edition “The English and Scottish Popular Ballads: five volumes / [edited by Francis James Child].
    [Show full text]
  • University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St
    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand marking: or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • 01 Prelude | | |--02 City of Refuge | | |--03 Bring Me My Queen
    |--Abigail Washburn | |--City of Refuge | | |--01 Prelude | | |--02 City of Refuge | | |--03 Bring Me My Queen | | |--04 Chains | | |--05 Ballad of Treason | | |--06 Last Train | | |--07 Burn Thru | | |--08 Corner Girl | | |--09 Dreams Of Nectar | | |--10 Divine Bell | | |--11 Bright Morning Stars | | |--cover | | `--folder | |--Daytrotter Studio | | |--01 City of Refuge | | |--02 Taiyang Chulai | | |--03 Bring Me My Queen | | |--04 Chains | | |--06 What Are They Doing | | `--07 Keys to the Kingdom | |--Live at Ancramdale | | |--01 Main Stageam Set | | |--02 Intro | | |--03 Fall On My Knees | | |--04 Coffee’s Cold | | |--05 Eve Stole The Apple | | |--06 Red & Blazey | | |--07 Journey Home | | |--08 Key To The Kingdom | | |--09 Sometime | | |--10 Abigail talks about the trip to Tibet | | |--11 Song Of The Traveling Daughter | | |--12 Crowd _ Band Intros | | |--13 The Sparrow Watches Over Me | | |--14 Outro | | |--15 Master's Workshop Stage pm Set | | |--16 Tuning, Intro | | |--17 Track 17 of 24 | | |--18 Story about Learning Chinese | | |--19 The Lost Lamb | | |--20 Story About Chinese Reality TV Show | | |--21 Deep In The Night | | |--22 Q & A | | |--23 We’re Happy Working Under The Sun | | |--24 Story About Trip To China | | |--index | | `--washburn2006-07-15 | |--Live at Ballard | | |--01 Introduction | | |--02 Red And Blazing | | |--03 Eve Stole The Apple | | |--04 Free Internet | | |--05 Backstep Cindy_Purple Bamboo | | |--06 Intro. To The Lost Lamb | | |--07 The Lost Lamb | | |--08 Fall On My Knees | | |--Aw2005-10-09 | | `--Index
    [Show full text]
  • The Minstrelsy of the Scottish Border
    *> THE MINSTRELSY OF THE SCOTTISH BORDER — A' for the sake of their true loves : I ot them they'll see nae mair. See />. 4. The ^Minstrelsy of the Scottish "Border COLLECTED BY SIR WALTER SCOTT EDITED AND ARRANGED WITH INTRODUCTION AND NOTES BY ALFRED NOYES AND SIX ILLUSTRATIONS BY JOHN MACFARLANE NEW YORK FREDERICK A. STOKES COMPANY PUBLISHERS • • * « * TO MARGARET AND KATHARINE BRUCE THIS EDITION OF A FAMOUS BOOK OF THEIR COUNTRY IS DEDICATED WITH THE BEST WISHES OF ITS EDITOR :593:3£>3 CONTENTS l'AGE Sir Patrick Spens I 6 The Wife of Usher's Well Clerk Saunders . 9 The Tvva Corbies 15 Barthram's Dirge 16 The Broom of Cowdenknows iS The Flowers of the Forest 23 25 The Laird of Muirhead . Hobbie Noble 26 Graeme and Bewick 32 The Douglas Tragedy . 39 The Lament of the Border Widow 43 Fair Helen 45 Fause Foodrage . 47 The Gay Goss-Hawk 53 60 The Silly Blind Harper . 64 Kinmont Willie . Lord Maxwell's Good-night 72 The Battle of Otterbourne 75 O Tell Me how to Woo Thee 81 The Queen's Marie 83 A Lyke-Wake Dirge 88 90 The Lass of Lochroyan . The Young Tamlane 97 vii CONTENTS PACE 1 The Cruel Sister . 08 Thomas the Rhymer "3 Armstrong's Good-night 128 APPENDIX Jellon Grame 129 Rose the Red and White Lilly 133 O Gin My Love were Yon Red Rose 142 Annan Water 143 The Dowie Dens of Yarrow .46 Archie of Ca'field 149 Jock o' the Side . 154 The Battle of Bothwell Bridge 160 The Daemon-Lover 163 Johnie of Breadislee 166 Vlll LIST OF ILLUSTRATIONS "A' for the sake of their true loves ;") ^ „, .,,/".
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Of ABBA 1 ABBA 1
    Music the best of ABBA 1 ABBA 1. Waterloo (2:45) 7. Knowing Me, Knowing You (4:04) 2. S.O.S. (3:24) 8. The Name Of The Game (4:01) 3. I Do, I Do, I Do, I Do, I Do (3:17) 9. Take A Chance On Me (4:06) 4. Mamma Mia (3:34) 10. Chiquitita (5:29) 5. Fernando (4:15) 11. The Winner Takes It All (4:54) 6. Dancing Queen (3:53) Ad Vielle Que Pourra 2 Ad Vielle Que Pourra 1. Schottische du Stoc… (4:22) 7. Suite de Gavottes E… (4:38) 13. La Malfaissante (4:29) 2. Malloz ar Barz Koz … (3:12) 8. Bourrée Dans le Jar… (5:38) 3. Chupad Melen / Ha… (3:16) 9. Polkas Ratées (3:14) 4. L'Agacante / Valse … (5:03) 10. Valse des Coquelic… (1:44) 5. La Pucelle d'Ussel (2:42) 11. Fillettes des Campa… (2:37) 6. Les Filles de France (5:58) 12. An Dro Pitaouer / A… (5:22) Saint Hubert 3 The Agnostic Mountain Gospel Choir 1. Saint Hubert (2:39) 7. They Can Make It Rain Bombs (4:36) 2. Cool Drink Of Water (4:59) 8. Heart’s Not In It (4:09) 3. Motherless Child (2:56) 9. One Sin (2:25) 4. Don’t We All (3:54) 10. Fourteen Faces (2:45) 5. Stop And Listen (3:28) 11. Rolling Home (3:13) 6. Neighbourhood Butcher (3:22) Onze Danses Pour Combattre La Migraine. 4 Aksak Maboul 1. Mecredi Matin (0:22) 7.
    [Show full text]
  • Learning Lineage and the Problem of Authenticity in Ozark Folk Music
    University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 1-1-2020 Learning Lineage And The Problem Of Authenticity In Ozark Folk Music Kevin Lyle Tharp Follow this and additional works at: https://egrove.olemiss.edu/etd Recommended Citation Tharp, Kevin Lyle, "Learning Lineage And The Problem Of Authenticity In Ozark Folk Music" (2020). Electronic Theses and Dissertations. 1829. https://egrove.olemiss.edu/etd/1829 This Dissertation is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. LEARNING LINEAGE AND THE PROBLEM OF AUTHENTICITY IN OZARK FOLK MUSIC A Dissertation presented in partial fulfillment of requirements for the degree of Doctor of Philosophy in the Department of Music The University of Mississippi by KEVIN L. THARP May 2020 Copyright Kevin L. Tharp 2020 ALL RIGHTS RESERVED ABSTRACT Thorough examination of the existing research and the content of ballad and folk song collections reveals a lack of information regarding the methods by which folk musicians learn the music they perform. The centuries-old practice of folk song and ballad performance is well- documented. Many Child ballads and other folk songs have been passed down through the generations. Oral tradition is the principal method of transmission in Ozark folk music. The variants this method produces are considered evidence of authenticity. Although alteration is a distinguishing characteristic of songs passed down in the oral tradition, many ballad variants have persisted in the folk record for great lengths of time without being altered beyond recognition.
    [Show full text]
  • 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.
    [Show full text]
  • Singing the Child Ballads Leave It to Our Readers to Challenge, If They Want To
    one of the canon, we‟ll take your word for it and Singing the Child Ballads leave it to our readers to challenge, if they want to. So to start with we invite you to send us your Rosaleen writes: favourite singing versions of the first eight Child ballads. With luck we‟ll have some of your Someone asked me recently which Child ballads I submissions to print in the next issue, along with our sing and I couldn‟t make a very satisfactory reply at second batch from my repertoire. We do hope that the time. But that started me wondering, so I‟ve been you will join me in this “quest for the ballad” by checking them out and I found quite a few in my sharing your versions of these well-loved songs. Here repertoire. Some are versions that stay close to one of are a few notes on my versions: Child‟s texts, others are composites created by revival singers or myself. Some I have known since 1. Riddles Wisely Expounded. My text is a composite my teens or early twenties; others I have only from Child‟s versions A and B. I‟ve known the tune recently learned, and still others I‟ve picked up since at least the early 1960s but I previously used it somewhere along the way, most often from for “The Cruel Mother” (I now sing a different recordings or from a handful of well-thumbed books version of that ballad). I picked up the melody in my possession. aurally, but it is almost the same as that first printed in d‟Urfey‟s Pills to Purge Melancholy (1719-20).
    [Show full text]