Unlocking Rhythms from the

American Folklife Center Archives

Thank you for joining us! Melanie Zeck, American Folklife Center We will begin at the top of the hour. Housekeeping Q&A Box

Survey at the end

Video and slides will be shared with all participants tomorrow Unlocking Rhythms from the

American Folklife Center Archives

Melanie Zeck, American Folklife Center Unlocking Rhythms: Uncovering Musical Secrets Considerations

SONGS* and SOUND PROFILES • Personal Experiences • Components • Historical and Cultural Meanings

*songs = pieces of music that contain words Unlocking Rhythms: Uncovering Musical Secrets Unguided Listening “Michael Row the Boat Ashore” American Folk Music Revival

Pete Seeger, 1955 Pete Seeger, 2000

New York World-Telegram and the Sun Newspaper Library of Congress Prints and Photographs Division Photograph Collection, Library of Congress Unlocking Rhythms: Uncovering Musical Secrets Two-part premise

• MUSIC is a form of communication • MUSIC functions like other resources Unlocking Rhythms Musical Research

QUANTITATIVE QUESTIONS* QUALITATIVE QUESTIONS* • Who? • Why? • What? • How? • When? • Where?

*MUSIC can be used to answer these questions Sound Profile #1: Template, “Michael Row the Boat Ashore” As rendered in the National History Day Webinar, October 21, 2020

BIG QUESTION More Specific Questions Observations

Possibility of Musician Identification Quantity of Musician(s) WHO Gender of Musician(s) Name of Musician(s) Audience Profile

Sound—Voice Sound—Beyond the Voice Sound—Voice Sound—Beyond the Voice • Whistling • Clapping WHAT • Humming • Stomping (Sound) • Singing • Patting Generic Syllables • Tapping Words • Playing an Instrument

Song Movement Song Movement WHAT • Language • Conducting Word Comprehension • Cuing participants (Result) Meaning • Unique Characteristics Specific Day Specific Date WHEN As part of a season As part of a reason WHERE Sound Profile #1: Completed, “Michael Row the Boat Ashore” As rendered in the National History Day Webinar, October 21, 2020

BIG QUESTION More Specific Questions Observations

Possibility of Musician Identification Yes—identifiable; musician is audible and visible Quantity of Musician(s) One musician WHO Gender of Musician(s) Female Name of Musician(s) Melanie Audience Profile Webinar participants

Sound—Voice Sound—Beyond the Voice Sound—Voice Sound—Beyond the Voice • Whistling • Clapping Whistling, no No Clapping WHAT • Humming • Stomping Humming, only first time No Stomping (Sound) • Singing • Patting Singing, yes No Patting Generic Syllables • Tapping Generic syllables, no No Tapping Words • Playing an Instrument Words, yes; No Instrument

Song Movement Song Movement WHAT • Language • Conducting Language: English or English Creole; No movement Word Comprehension • Cuing participants Meaning is understandable (Result) Meaning • Unique Characteristics

Specific Day Wednesday Specific Date October 21, 2020 WHEN As part of a season No As part of a reason Yes, for a National History Day Webinar

WHERE Via computer Sound Profile #2: Template, “Happy Birthday” As rendered in the National History Day Webinar, October 21, 2020

BIG QUESTION More Specific Questions Observations

Possibility of Musician Identification Quantity of Musician(s) WHO Gender of Musician(s) Name of Musician(s) Audience Profile Sound—Beyond the Voice Sound—Voice Sound—Beyond the Voice Sound—Voice • Clapping • Whistling • Stomping WHAT • Humming • Patting • Singing (Sound) • Tapping Generic Syllables • Playing an Instrument Words

Song Movement Song Movement • Language • Conducting WHAT Word Comprehension • Cuing participants LYRICS, Line 1 Line 1 Meaning LYRICS, Line 2 Line 2 (Result) • Unique Characteristics LYRICS, Line 3 Line 3 LYRICS, Line 4 Line 4

Specific Day Specific Date WHEN As part of a season As part of a reason WHERE WHY Sound Profile #2: Completed, “Happy Birthday” As rendered in the National History Day Webinar, October 21, 2020

BIG QUESTION More Specific Questions Observations

Possibility of Musician Identification Yes, identifiable Quantity of Musician(s) 1 musician Gender of Musician(s) Female WHO Name of Musician(s) Melanie Audience Profile Webinar participants

WHAT Sound—Voice Sound—Beyond the Voice Sound—Voice Sound—Beyond the Voice • Whistling • Clapping (Sound) • Humming • Stomping No whistling, no humming. Line 1—no, just singing • Singing • Patting Yes, singing. Line 2—clapping rhythm Generic Syllables • Tapping Words, yes; Language: English or English Creole; Words • Playing an Instrument Meaning is understandable

Song Movement Song • Language • Conducting Movement WHAT Word Comprehension • Cuing participants LYRICS, Line 1—Happy Birthday to you Meaning LYRICS, Line 2—Happy Birthday to you Line 3—Conducting (Result) • Unique Characteristics LYRICS, Line 3—Happy Birthday, National History Day Line 4—Cuing participants LYRICS, Line 4—Happy Birthday to you.

Specific Day Wednesday Specific Date October 21, 2020 WHEN As part of a season No As part of a reason Yes, for a National History Day Webinar WHERE Via computer WHY To celebrate a birthday Sound Profile #3: Template, “Happy Birthday” As rendered at a Chicago Pentecostal Church Service, 1977

BIG QUESTION More Specific Questions Observations

Possibility of Musician Identification Quantity of Musician(s) WHO Gender of Musician(s) Name of Musician(s) Audience Profile Sound—Beyond the Voice Sound—Voice Sound—Beyond the Voice Sound—Voice • Clapping • Whistling • Stomping WHAT • Humming • Patting • Singing (Sound) • Tapping Generic Syllables • Playing an Instrument Words

Song Movement Song Movement • Language • Conducting Word Comprehension • Cuing participants LYRICS, Line 1 Line 1 WHAT Meaning LYRICS, Line 2 Line 2 (Result) • Unique Characteristics LYRICS, Line 3 Line 3 LYRICS, Line 4 Line 4

Specific Day ?? Sunday?? Specific Date 1977 WHEN No As part of a season Yes, in the context of a worship service As part of a reason WHERE Chicago, Illinois, at a Pentecostal church Sound Profile #4: Comparison, “Happy Birthday”

Rendering 1, National History Day Webinar, October 21, 2020 // Rendering 2, Chicago Pentecostal Church Service, 1977

NHD: 10.21.2020 Pentecostal Church Service: 1977

Yes, identifiable Yes, identifiable by sound 1 musician More than 1 musician, total number unknown (2 main singers, possible audience) Female 1 female, 1 male, possibly members of a congregation Melanie Unknown from recording Webinar participants Members of congregation

No whistling, no humming. No whistling, no humming. Yes, singing. Yes, singing. Words, yes; Language: English; Meaning is understandable Words, yes; Language: English; Meaning is understandable LYRICS, Line 1—Happy Birthday to you LYRICS, Line 1—Happy Birthday to you LYRICS, Line 2—Happy Birthday to you LYRICS, Line 2—Happy Birthday to you LYRICS, Line 3—Happy Birthday, Dear National History Day LYRICS, Line 3—Happy Birthday, God Bless You LYRICS, Line 4—Happy Birthday to you. LYRICS, Line 4—Happy Birthday to you.

No clapping No stomping Line 1—just singing No patting Line 2—clapping rhythm No tapping Line 3—Conducting Yes, guitar Line 4—Cuing participants Unknown, conducting Unknown, cuing Wednesday unknown October 21, 2020 1977 No No Yes, for a National History Day Webinar Yes, in the context of a worship service Via computer Chicago, Illinois, at a Pentecostal church Field Notes Church service at Northside United Pentecostal Church, Chicago, Illinois, part 1 Leader, Pastor, SINGER Notes - Northside Pentacostal (In Church), part 1 Bobby Goddard - Part 1 of a 4-part recording of the Sunday service at Northside Pentecostal Church, 1527 E. Edgewater Ave. in the Edgewater neighborhood; the leader and pastor was Bobby Goddard; recorded on a stereo Nagra IV with a Sennheiser 402 microphone at the pulpit and, for most of the recording, a second Sennheiser 402 directed toward the congregation, with some variation as noted; this part includes Goddard’s greetings, and a prayer with voiced heard from the congregation; song "We're together again," led by Paul Dean and Joann Bolen, both with vocal and guitar; hymn "I'll be Somewhere Listening to My Name" (number 25 in the hymnal Pentecostal Praises) led at the pulpit by a woman with Goddard standing behind her and singing as well; hymn “The Fullness of Godhead is all in Him” (number 29); Goddard makes a birthday call and a boy and girl come forward and drop one penny for each year into a glass, as BG rings a little bell, congregation then sings "Happy Birthday to You"; Goddard states a welcome and transitions to Sunday School; Paul Dean remarks on the making of this recording (right channel only, the fieldworker then moves one microphone); Dean begins the adult Sunday School lesson, preceded by a hymn duet by Dean and Bolen (right channel), both playing guitars, "What a Glorious Day that Will Be"; Dean’s Sunday School lesson, about the Pentecostal doctrine concerning speaking in tongues, baptism, and the doctrine of the Trinity (right channel only); Dean’s lesson continues in part 2. 2 celebrants: 2nd SINGER one boy, one girl, unidentified unidentified woman guitar Congregation sings Sound Profile #4: Comparison, “Happy Birthday”

Rendering 1, National History Day Webinar, October 21, 2020 // Rendering 2, Chicago Pentecostal Church Service, 1977

NHD: 10.21.2020 Pentecostal Church Service: 1977 Yes, identifiable Yes, identifiable by sound 1 musician More than 1 musician, total number unknown (2 main singers, possible audience) Female 1 female, 1 male, possibly members of a congregation Melanie Unknown from recording Webinar participants Members of congregation

No whistling, no humming. No whistling, no humming. Yes, singing. Yes, singing. Words, yes; Language: English or English Creole; Meaning is understandable Words, yes; Language: English; Meaning is understandable LYRICS, Line 1—Happy Birthday to you LYRICS, Line 1—Happy Birthday to you LYRICS, Line 2—Happy Birthday to you LYRICS, Line 2—Happy Birthday to you LYRICS, Line 3—Happy Birthday, National History Day LYRICS, Line 3—Happy Birthday, God Bless You LYRICS, Line 4—Happy Birthday to you. LYRICS, Line 4—Happy Birthday to you. No clapping No stomping Line 1—just singing No patting Line 2—clapping rhythm No tapping Line 3—Conducting Yes, guitar Line 4—Cuing participants Unknown, conducting Unknown, cuing Wednesday unknown October 21, 2020 1977 No No Yes, for a National History Day Webinar Yes, in the context of a worship service Via computer Chicago, Illinois, at a Pentecostal church CELEBRATE: National History Day’s 40th Birthday CELEBRATE: Birthdays of two children Guided Listening and Sound Profiles

• ASSESS • CONTEXTUALIZE • Historical musical situations • Role of musicians • Contemporary musical situations • Purpose of the music • Rationale • DESCRIBE • Musicals sounds • Creation/performance of sounds Trench Port Royal Island (Hilton Head Island, Beaufort, South Carolina South Carolina

Daufowske (Daufuskie) Island

St. Simon’s Island, Georgia Slave Songs of the United States

Compilers: • William Francis Allen • Charles Pickard Ware • Lucy McKim Garrison Slave Songs of the United States

“Michael Row the Boat Ashore”

other songs from Sea Islands and region Slave Songs of the United States: “Michael Row the Boat Ashore” Slave Songs of the United States: “Michael Row the Boat Ashore”

“boat-song”

CONTEXT: working/rowing

APPLICATION: practical

WHEN: “when the load was heavy or the tide was against us”

WHERE: Beaufort, South Carolina Slave Songs: Description of “shout” “shout”

CONTEXT: ceremony

APPLICATIONS: practical, traditional

WHEN: Sundays WHERE: “Praise-house” (church) Unlocking Rhythms: Uncovering Musical Secrets What we do and do not know . . .

• 1867: Publication of Slave Songs of the United States • PURPOSE of a “boat-song”—accompany rowing • CONTEXT of shouting

• 1877: Recorded invented

• 1890s: Recorded sound becomes more available Slave Songs of the United States: Transcription issues

. . . difficulty experienced in attaining absolute correctness is greater than might be supposed . . .

. . .intonations and delicate variations of even one singer cannot be reproduced on paper. Sound Profile IN PROGRESS: “Michael Row the Boat Ashore” What do we know so far?

BIG QUESTION Historical Version More Recent Versions

Pete Seeger Performers: oarsmen Folk musicians WHO Transcribers: Allen, Ware, Garrison Melanie

NOT AVAILABLE AVAILABLE Sound recording Transcription* Description AVAILABLE WHAT Library of Congress has resources related to (Sound) multiple contexts in which “Michael” has *compilers note limitations/ been found (dated ca. 1950s—current) problems with transcription

Result of Singing: SONG with Purpose of Song: to keep Result of Singing: SONG Purpose of Song: WHAT multiple lyrics oarsmen rowing in unison Depends on context— (Result)

General: prior to 1867 General: 1950s, beginning with the American Folk Music Revival General: While rowing WHEN Specific: multiple Specific: “When the load was heavy or the tide was against us”

Port Royal Island, South Carolina Multiple: depends on context WHERE Between Beaufort, South Carolina, and other ports

WHY To keep oarsmen rowing in unison Multiple: depends on context Library Catalog: Keyword Searching

A. H . Stoddard Collection of Gullah Recordings

Alan Lomax, Zora Neale Hurston, and Mary Elizabeth Barnicle Expedition Collection A. H Stoddard collection of Gullah recordings Alan Lomax, Zora Neale Hurston, and Mary Elizabeth Barnicle expedition collection* Voices Remembering Slavery Wallace Quarterman: Beginning of Transcript

I Surrender

Oh, let me come on i-in. I surrender, and open the door. Let me come in open up. Yeah, let me come i-inn. Oh, let me come i-i-i-innn. I surrender, yes open the door, and let me come in. I said baby don't you cry, mothers and father are born to die. I surrender [recording gets stuck]. Oh, let me come i-inn. I surrender and open the door and let me come in. Wallace Quarterman, Frederica, Georgia, June 1935

Lomax Collection of Photographs depicting musicians, primarily in the southern United States and the Bahamas Library of Congress Prints and Photographs Division Sound Profile IN PROGRESS: “Michael Row the Boat Ashore” What do we know so far?

• HISTORICAL RESOURCES • ADDITIONAL KEYWORDS • 1867 transcription, description • Daufuskie, South Carolina • 1935 sound recording of formerly • St. Simon’s Island, Georgia enslaved Sea Islander • Gullah-Geechee • Shout • ORAL HISTORY/ PERSONAL MEMORIES • KNOWLEDGE OF RECENT USES • ACCESS TO DOCUMENTATION https://guides.loc.gov/ https://guides.loc.gov/gullah-geechee-history/introduction

Gullah/Geechee people of today are descendants of enslaved Africans . . . Forced to work on the plantations of . . . South Carolina, Georgia . . https://guides.loc.gov/gullah-geechee-history https://guides.loc.gov/gullah-geechee-history/digital-collections https://guides.loc.gov/gullah-geechee-folklife/collection-highlights McIntosh County Shouters Home Grown Concert Series, Library of Congress, 2010 McIntosh County Shouters Discussion of Shout McIntosh County Shouters Discussion of “Gullah,” Performance of Shout “Move Daniel” Sound Profile #5: In Progress, Shouting As rendered at by the McIntosh County Singers, 2010 (Library of Congress)

BIG QUESTION More Specific Questions Observations

Possibility of Musician Identification yes Quantity of Musician(s) 9+ 1 narrator 4 male; 5 female, WHO Gender of Musician(s) (1 female narrator) Name of Musician(s) Group: McIntosh County Singers WHAT Sound—Voice Sound—Beyond the Voice • Whistling • Clapping Yes, describe: (Sound) • Humming • Stomping Yes, describe: • Singing Yes, with words • Patting Yes, describe: Generic Syllables • Tapping Yes, describe: Words • Playing an Instrument No, but stick keeps the beat

Song Shout Movement • Language Gullah Word Comprehension • Some performers stand in one Meaning place, while clapping, sing, WHAT Unique Characteristics stomping, beating stick (Result) • Some performers shuffle in a ring

WHEN: VIDEO 2010 WHEN: HISTORICAL CONTEXT

WHERE: VIDEO Library of Congress WHERE: HISTORICAL CONTEXT Selected Additional Resources (with an emphasis on teaching and/or audiovisual materials) • American Folklife Center • https://www.loc.gov/folklife/

• Music Division • https://www.loc.gov/rr/perform/

• Teaching with the Library of Congress • http://blogs.loc.gov/teachers/ • https://www.loc.gov/programs/teachers/about-this-program/ Questions?

Please complete our feedback survey: https://tinyurl.com/NHDwebinars Unlocking Rhythms: Uncovering Musical Secrets Glossary

• Field notes—set of descriptive information about a recording made on location • Field recording—recording made on location • Genre—category (in our case, “boat-song” is a genre, or category, of song) • Lyrics—words of a song • Metadata—set of technical information about an item (in our case, about an archival collection) • Scope notes—set of descriptive information about an item (in our case, about an archival collection) • Rhythm—repeated pattern of sound or movement • Song—piece of music that contains words • Tempo—speed or pacing of sound • Transcription—process and result of writing down what was heard Unlocking Rhythms: Uncovering Musical Secrets Links to Resources

• Ask a Librarian: American Folklife Center • https://ask.loc.gov/american-folklife/ • Library of Congress Catalog • https://catalog.loc.gov/ • Index of Library of Congress Research Guides • https://guides.loc.gov • Selected Gullah-Geechee Research Guides • https://guides.loc.gov/gullah-geechee-history/introduction • https://guides.loc.gov/gullah-geechee-folklife/collection-highlights