Flying Fish and Falling Stars
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Popular British Ballads : Ancient and Modern
11 3 A! LA ' ! I I VICTORIA UNIVERSITY LIBRARY SHELF NUMBER V STUDIA IN / SOURCE: The bequest of the late Sir Joseph Flavelle, 1939. Popular British Ballads BRioky Johnson rcuvsrKAceo BY CVBICt COOKe LONDON w J- M. DENT 5" CO. Aldine House 69 Great Eastern Street E.G. PHILADELPHIA w J. B. LIPPINCOTT COMPANY MDCCCXCIV Dedication Life is all sunshine, dear, If you are here : Loss cannot daunt me, sweet, If we may meet. As you have smiled on all my hours of play, Now take the tribute of my working-day. Aug. 3, 1894. eooccoc PAGE LIST OF ILLUSTRATIONS xxvii THE PREFACE /. Melismata : Musical/ Phansies, Fitting the Court, Cittie, and Countrey Humours. London, 1 6 1 i . THE THREE RAVENS [MelisMtata, No. 20.] This ballad has retained its hold on the country people for many centuries, and is still known in some parts. I have received a version from a gentleman in Lincolnshire, which his father (born Dec. 1793) had heard as a boy from an old labouring man, " who could not read and had learnt it from his " fore-elders." Here the " fallow doe has become " a lady full of woe." See also The Tiua Corbies. II. Wit Restored. 1658. LITTLE MUSGRAVE AND LADY BARNARD . \Wit Restored, reprint Facetix, I. 293.] Percy notices that this ballad was quoted in many old plays viz., Beaumont and Fletcher's Knight of the xi xii -^ Popular British Ballads v. The a Act IV. Burning Pestle, 3 ; Varietie, Comedy, (1649); anc^ Sir William Davenant's The Wits, Act in. Prof. Child also suggests that some stanzas in Beaumont and Fletcher's Bonduca (v. -
Ancient Ballads and Songs of the North of Scotland, Hitherto
1 ifl ANCIENT OF THE NOETH OF SCOTLAND, HITHERTO UNPUBLISHED. explanatory notes, By peter BUCHAN, COKRESFONDING ME3IBER OF THE SOCIETY OF ANTIQUARIES OF SCOTLAND. " The ancient spirit is not dead,— " Old times, wc trust, are living here.' VOL. ir. EDINBURGH: PRINTED 1011 W. & D. LAING, ANI> J, STEVENSON ; A. BllOWN & CO. ABERDEEN ; J. WYLIE, AND ROBERTSON AND ATKINSON, GLASGOW; D. MORISON & CO. PERTH ; AND J. DARLING, LONDON. MDCCCXXVIII. j^^nterct! in -Stationers i^all*] TK CONTENTS V.'Z OF THK SECOND VOLUME. Ballads. N'olcs. The Birth of Robin Hood Page 1 305 /King Malcolm and Sir Colvin 6 30G Young Allan - - - - 11 ib. Sir Niel and Mac Van 16 307 Lord John's Murder 20 ib. The Duke of Athole's Nurse 23 ib. The Laird of Southland's Courtship 27 308 Burd Helen ... 30 ib. Lord Livingston ... 39 ib. Fause Sir John and IMay Colvin 45 309 Willie's Lyke Wake 61 310 JSTathaniel Gordon - - 54 ib. Lord Lundy ... 57 312 Jock and Tarn Gordon 61 ib. The Bonny Lass o' Englessie's Dance 63 313 Geordie Downie . - 65 314 Lord Aboyne . 66 ib. Young Hastings ... 67 315 Reedisdale and Wise William 70 ib. Young Bearwell ... 75 316 Kemp Owyne . 78 ib. Earl Richard, the Queen's Brother 81 318 Earl Lithgow .... 91 ib. Bonny Lizie Lindsay ... 102 ib. The Baron turned Ploughman 109 319 Donald M'Queen's Flight wi' Lizie Menzie 117 ib. The Millar's Son - - - - 120 320 The Last Guid-night ... 127 ib. The Bonny Bows o' London 128 ib. The Abashed Knight 131 321 Lord Salton and Auchanachie 133 ib. -
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. -
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. -
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). -
English Folk Ballads Collected By
Journal of Vasyl Stefanyk Precarpathian National University English Folk Ballads Collected by Cecil James Sharp < 79 http://jpnu.pu.if.ua Vol. 1, No. 2,3 (2014), 79-85 UDC 821.111:82-144(292.77) doi: 10.15330/jpnu.1.2,3.79-85 ENGLISH FOLK BALLADS COLLECTED BY CECIL JAMES SHARP IN THE SOUTHERN APPALACHIANS: GENESIS, TRANSFORMATION AND UKRAINIAN PARALLELS OKSANA KARBASHEVSKA Abstract. The purpose of this research, presented at the Conference sectional meeting, is to trace peculiarities of transformation of British folk medieval ballads, which were brought to the Southern Appalachians in the east of the USA by British immigrants at the end of the XVIIIth – beginning of the XIXth century and retained by their descendants, through analyzing certain texts on the levels of motifs, dramatis personae, composition, style and artistic means, as well as to outline relevant Ukrainian parallels. The analysis of such ballads, plot types and epic songs was carried out: 1) British № 10: “The Twa Sisters” (21 variants); American “The Two Sisters”(5 variants) and Ukrainian plot type I – C-5: “the elder sister drowns the younger one because of envy and jealousy” (8 variants); 2) British № 26: The Three Ravens” (2), “The Twa Corbies” (2); American “The Three Ravens” (1), “The Two Crows”(1) and Ukrainian epic songs with the motif of lonely death of a Cossack warrior on the steppe (4). In our study British traditional ballads are classified according to the grouping worked out by the American scholar Francis Child (305 numbers), Ukrainian folk ballads – the plot-thematic catalogue developed by the Ukrainian folklorist Оleksiy Dey (here 288 plots are divided into 3 spheres, cycles and plot types). -
The Ballad/Alan Bold Methuen & Co
In the same series Tragedy Clifford Leech Romanticism Lilian R Furst Aestheticism R. V. Johnson The Conceit K. K Ruthven The Ballad/Alan Bold The Absurd Arnold P. Hinchliffe Fancy and Imagination R. L. Brett Satire Arthur Pollard Metre, Rhyme and Free Verse G. S. Fraser Realism Damian Grant The Romance Gillian Beer Drama and the Dramatic S W. Dawson Plot Elizabeth Dipple Irony D. C Muecke Allegory John MacQueen Pastoral P. V. Marinelli Symbolism Charles Chadwick The Epic Paul Merchant Naturalism Lilian R. Furst and Peter N. Skrine Rhetoric Peter Dixon Primitivism Michael Bell Comedy Moelwyn Merchant Burlesque John D- Jump Dada and Surrealism C. W. E. Bigsby The Grotesque Philip Thomson Metaphor Terence Hawkes The Sonnet John Fuller Classicism Dominique Secretan Melodrama James Smith Expressionism R. S. Furness The Ode John D. Jump Myth R K. Ruthven Modernism Peter Faulkner The Picaresque Harry Sieber Biography Alan Shelston Dramatic Monologue Alan Sinfield Modern Verse Drama Arnold P- Hinchliffe The Short Story Ian Reid The Stanza Ernst Haublein Farce Jessica Milner Davis Comedy of Manners David L. Hirst Methuen & Co Ltd 19-+9 xaverslty. Librasü Style of the ballads 21 is the result not of a literary progression of innovators and their acolytes but of the evolution of a form that could be men- 2 tally absorbed by practitioners of an oral idiom made for the memory. To survive, the ballad had to have a repertoire of mnemonic devices. Ballad singers knew not one but a whole Style of the ballads host of ballads (Mrs Brown of Falkland knew thirty-three separate ballads). -
Jean Thomas' American Folk Song Festival : British Balladry in Eastern Kentucky
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 4-1978 Jean Thomas' American Folk Song Festival : British balladry in Eastern Kentucky. Marshall A. Portnoy University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Musicology Commons, and the Other Music Commons Recommended Citation Portnoy, Marshall A., "Jean Thomas' American Folk Song Festival : British balladry in Eastern Kentucky." (1978). Electronic Theses and Dissertations. Paper 3361. Retrieved from https://ir.library.louisville.edu/etd/3361 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. JEAN THOMAS' AfiERICAN FOLK SONG FESTIVAL: ''. BRITISH BALLADRY IN EASTERN KENTUCKY ·By . Marshall A. Portnoy '" B.A., Yale University, 1966 M.S., Southern Connecticut State College, 1967 B. Mus., The Jewish Theological Seminary of America, 1971 Diploma of Hazzan, School of Sacred Music of The Jewish Theological Seminary of America, 1971 A Thesis Submitted to the Faculty of the Graduate School of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts Department of Music History Division of Humanities University of Louisville Louisville, Kentucky April 1978 © 1978 MARSHALL ALAN PORTNOY ALL RIGHTS RESERVED JEAN THOMAS' AMERICAN FOLK SONG FESTIVAL: BRITISH BALLADRY IN EASTERN KENTUCKY By Marshall A. -
Tradition Label Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan Tradition Label Discography
Tradition label Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan Tradition Label Discography The Tradition Label was established in New York City in 1956 by Pat Clancy (of the Clancy Brothers) and Diane Hamilton. The label recorded folk and blues music. The label was independent and active from 1956 until about 1961. Kenny Goldstein was the producer for the label during the early years. During 1960 and 1961, Charlie Rothschild took over the business side of the company. Clancy sold the company to Bernard Solomon at Everest Records in 1966. Everest started issuing albums on the label in 1967 and continued until 1974 using recordings from the original Tradition label and Vee Jay/Horizon. Samplers TSP 1 - TraditionFolk Sampler - Various Artists [1957] Birds Courtship - Ed McCurdy/O’Donnell Aboo - Tommy Makem and Clancy Brothers/John Henry - Etta Baker/Hearse Song - Colyn Davies/Rodenos - El Nino De Ronda/Johnny’s Gone to Hilo - Paul Clayton/Dark as a Dungeon - Glenn Yarbrough and Fred Hellerman//Johnny lad - Ewan MacColl/Ha-Na-Ava Ba-Ba-Not - Hillel and Aviva/I Was Born about 10,000 Years Ago - Oscar Brand and Fred Hellerman/Keel Row - Ilsa Cameron/Fairy Boy - Uilleann Pipes, Seamus Ennis/Gambling Suitor - Jean Ritchie and Paul Clayton/Spiritual Trilogy: Oh Freedom, Come and Go with Me, I’m On My Way - Odetta TSP 2 - The Folk Song Tradition - Various Artists [1960] South Australia - A.L. Lloyd And Ewan Maccoll/Lulle Lullay - John Jacob Niles/Whiskey You're The Devil - Liam Clancy And The Clancy Brothers/I Loved A Lass - Ewan MacColl/Carraig Donn - Mary O'Hara/Rosie - Prisoners Of Mississippi State Pen//Sail Away Ladies - Odetta/Ain't No More Cane On This Brazis - Alan Lomax, Collector/Railroad Bill - Mrs. -
Griselda's Sisters: Wifely Patience And
GRISELDA’S SISTERS: WIFELY PATIENCE AND SISTERLY RIVALRY IN ENGLISH TALES AND BALLADS The present study is aimed at two widespread themes in traditional English narratives: the twin sisters separated at birth who vie with each other for the same man, a tale which is best known in medieval literature as the Lay Le Freine, and that of the patient wife, well-known in English through Chaucer’s The Clerk’s Tale. Both stories seem to have common mythological roots, marked folktale features, and a long survival in popular ballads. After tracing a possible genealogy and analysing the variants so as to show how the two stories are related, we will account for the significance of their themes within English culture. 1. HAZEL TREE AND ASH TREE: A TALE OF ORIGINS The oldest extant version of our stories in English is the Lay Le Freine copied in the Auchinleck MS (c. 1330), which is a translation of Marie de France’s twelfth-century lay Fresne. Its Spanish editor Ana María Holzbacher (1993: 37) calls it an example of ‘feminine docility’ in love. Indeed, the heroine Fresne is always obedient to the man (Gurun) who takes her from the convent near which she had been abandoned as baby inside an ash tree (‘fresne’ in Marie´s French), even when, after years of cohabitation, he decides to degrade her from lover to servant, in order to marry a rich lady called Le Codre (Marie’s French for ‘hazel tree’). In one of the passages missing in the English version,1 Sir Gurun’s feudatories compare the two ladies using the metaphor of trees: 1 These passages are usually supplied by English editors in Henry W. -
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 -
Vaughan Williams Albion Records
RALPH VAUGHAN WILLIAMS ALBION RECORDS FOLK SONGS Volume 2 Mary Bevan Nicky Spence Roderick Williams Thomas Gould William Vann VAUGHANRALPH WILLIAMS Complete Folk Song Arrangements Volume 2 Roud No. Nine English Folk Songs from the Two English Folk Songs for voice & violin (c 1913, published 1935) Southern Appalachian Mountains 10 Searching for Lambs T & V 576 3’30 (c. 1938, published 1967) 11 The Lawyer T & V 922 1’49 1 The Rich Old Lady T 183 1’54 2 The Tree in the Wood B 129 2’34 A Selection of Collected Folk Songs Volume 1 (1917) 3 Lord Thomas and Fair Ellinor B 4 4’03 12 Down by the Riverside B 1438 1’27 4 The Lovers’ Tasks S & T 12/21093 3’18 13 I will give my Love an Apple S 330 1’24 5 John Randolph S & T 10 4’20 14 The Carter T 2408 1’47 6 Fair Margaret and Sweet William S 253 4’42 15 The Painful Plough B 355 3’49 7 Barbara Ellen B 54 4’34 16 My Boy Billy S 326 2’03 8 The House Carpenter S 14 5’35 17 The Fox T 131 1’02 9 The Twelve Apostles T & B 133 3’01 18 The Female Highwayman S 7 2’40 19 Farmyard Song S & T 544 2’41 Total recording time: 56’22 Key: S = Soprano; T = Tenor; B = Baritone, V = Violin The piano accompanies tracks 1 to 9 and 12 to 19 Mary Bevan soprano, Nicky Spence tenor, Roderick Williams baritone, Thomas Gould violin, William Vann piano Tracks 10 and 11 were previously issued on ALBCD029, Purer than Pearl.