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Rhizomatic Thinking and Traditional Music As Difference-In-Itself

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Rhizomatic Thinking and Traditional Music As Difference-In-Itself Rhizomatic Thinking and Traditional Music as Difference-in-Itself: A Virtual Historical Revision of England’s Victorian/Edwardian Folk Revival Submitted by Joseph Williams in fulfilment of the requirements for the degree of Doctor of Philosophy, in the field of Musicology, at Western Sydney University, in 2019. ii Acknowledgements I owe a great debt to Associate Professor Sally Macarthur, whose guidance in the use of Deleuze and Guattari’s philosophy throughout the process of proposing, researching, and preparing this dissertation has been invaluable. Sally’s generosity in freely sharing her wisdom and commitment as both a mentor and an advocate have been instrumental in allowing me to complete this research and to build experience and confidence in the academic profession. I am also indebted to Doctor Maria Angel, who was particularly influential in advising the development of this project in its formative stages. My friends and informal mentors in the Music faculty at Western Sydney University—including, in no particular order, Doctor Clare Maclean, Professor Diana Blom, Associate Professor Bruce Crossman, John Encarnacao, Doctor Ian Stevenson, Doctor Brendan Smyly, Doctor Michelle Stead, and Jacob Leonard—have never been reluctant to share the benefits of their experience and insight in discussions around my research in its various iterations. I am also grateful for the input that has come from the broader academic and student community in the School of Humanities and Communication Arts, and in particular from Associate Professor Anna Cristina Pertierra, Peter Long, Jimmi Carr, Peter Hughes, and Narelle Ontivero. Doctor Wayne Peake has been indispensable as a guide to the bewildering warren of internal systems and processes within the university. Finally, I must acknowledge the work of the librarians and other workers at the Vaughan Williams Memorial Library, the Percy Grainger Museum, and the Internet Archive, iii whose efforts to store, organise, and digitise a great wealth of historical treasures have made this research possible. iv Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. Joseph Williams ……………………………………………………..………………………. v Declarations This research was funded by the Research Training Scheme and the Australian Postgraduate Award scholarship. vi Contents Acknowledgements……………………………………………………………………………………........ii Statement of Authentication……………………………………………………………………………..iv Declarations…………………………………………………………………………………………………….v List of Figures and Musical Examples………………………………………………………………..vii Abstract………………………………………………………………………………………..…..…………….ix Introduction: Traditional Music and the Principle of Identity……..……..…….………….1 Chapter 1: Literatures of Traditional Music and the Folk Revival………………..………..16 Chapter 2: The Philosophy of Gilles Deleuze and Félix Guattari and its Uses in this Dissertation………………………………………………………………………………………..….……….70 Chapter 3: The Conceptual Territory of English Nationalism and the Territoriality of Traditional Music………………………………………………………………………………..………….111 Chapter 4: Minor Musics of the Folk Revival……………………………………………….……155 Chapter 5: Fold Music: Affect, Subjectivation, and the Production of Ethico-Aesthetic Positions for Frank Kidson and Lucy Broadwood………………………………………..……203 Chapter 6: From Chaos to Song: Towards a Rhizomatic Evolutionary Theory of Traditional Music……………………………………………………………………………..……………277 Conclusion: Traditional Music and Difference-in-Itself……………………………………..325 Bibliography……………………………………………………………………………………….…………336 vii List of Figures and Musical Examples 4.1 “Gypsy, Gypsy,” Anne Geddes Gilchrist Collection, Vaughan Williams Memorial Library, Roud no.19596…………………………………………………………………………….…….175 5.1 “Boyne Water” (early version) as printed in “The Vitality of Melody,” p.83……..213 5.2 “Boyne Water” (late version) as printed in “The Vitality of Melody,” p.84………213 5.3 Songs from p.1 of Old English Country Dances…….…………..………………………...223 5.4 “The 29th of May,” as printed in Old English Country Dances, p.2………………..224 5.5 Opening bars of “Ay Me, or The Symphony” and “The 29th of May,” as printed in Old English Country Dances, pp.1 & 2……………………………………………………………..225 5.6 Opening bar of “The Herefordshire Lasses,” as printed in Old English Country Dances, p.9…………………………………………………………………………………………………...225 5.7 Melodic sequences in “The Herefordshire Lasses” and “The 29th of May,” as printed in Old English Country Dances, pp. 2 & 9………………………………..………..…226 5.8 “The Herefordshire Lasses,” as printed in Old English Country Dances, p.9.…226 5.9 “Spithead Fleet,” as printed in Old English Country Dances, p.11………………….227 5.10 “The Ball,” as printed in Old English Country Dances, p.13………………….…….228 5.11 “The Three Ravens,”as printed in Traditional Tunes, pp.17-18…………………….234 5.12 “The Nightingale,” as printed in Traditional Tunes, p.61…………………..…….….236 5.13 “The Gown of Green,” as printed in Traditional Tunes, p.63…………………..…..236 viii 5.14: “Through the Moorfields,” as printed in Broadwood, “On the Collecting of English Folk-Song.”…………………………………………………………………………….…………248 5.15: “The New Irish Girl,” as printed in Broadwood, “On the Collecting of English Folk-Song.”………………………………………………………………………………………………......249 5.16: “I Once Loved a Boy,” (“My Bonnie Bonnie Boy”) noted by Lucy Broadwood from Petrie, The Ancient Music of Ireland………………………………………………………..261 5.17: “My Bonnie, Bonnie Boy,” as printed in English County Songs……………….....262 6.1: Excerpt from “She Moved through the Fair,” as printed in Irish Country Songs……………………………………………………………………………………………………….…..301 ix Abstract This dissertation problematizes the principle of identity in the contemporary understanding and evaluation of traditional music in international contexts. Through a virtual historical revision of England’s folk revival of the late nineteenth and early twentieth centuries, I ask whether it is possible to rethink the concept of traditional music in terms of what Gilles Deleuze called difference-in-itself. The orientation of my historical revision is informed by Deleuze’s concept of the virtual, which concerns the relationship between the past, as it exists in the present without being actual, and the actual as it exists in the present as a particular state of affairs. The concepts which Deleuze developed, often in collaboration with Félix Guattari, are employed throughout the dissertation to open a path towards new ways of understanding and evaluating traditional music as a distinctive mode of musical creativity. I begin by showing how a romantic nationalist interpretation of folk music’s cultural significance emerged during the revival and came to shape the way that traditional music is defined by bodies like the International Council for Traditional Music and the United Nations Educational, Scientific, and Cultural Organisation. I then demonstrate that these ideas were developed in contradiction to the existence of various minoritarian influences within the revival, including Celticism, Romani music, and sea songs and chanties. Descending from the level of traditional music’s relationship with communal cultures, I undertake an analysis of its impact in the lives of two prominent revivalists, Frank Kidson and Lucy Broadwood. This analysis shows that the principle of deterritorialization, which is to say difference and becoming, is more appropriate for understanding and valuing individual engagements with traditional music than the principle of identity. Finally, I examine x the way that Darwinian evolutionary concepts were drawn into the influential theory of traditional music that was expounded by Cecil Sharp in 1907, arguing that contemporary evolutionary concepts offer a radically different and much more nuanced theoretical foundation for thinking about traditional music. 1 Introduction: Traditional Music and the Principal of Identity I am in the habit of falling asleep with a documentary playing in the background— something I do not need to watch with my eyes open, but that is sufficiently interesting to keep impatience at bay while sleep comes. Last night it was a piece from the BBC Imagine series called “The Lost Music of Rajasthan,” hosted by Alan Yentob. One section of the film followed the Rajasthani Bhopa-Bhopi singer Bhanwari Devi to a performance that had been arranged for her at the Edinburgh Festival in 2011 by the Jaipur Virasat Foundation.1 The foundation’s co-creator, John Singh, explained that his aims, and those of the Foundation, were not to document and archive the music of Bhanwari Devi and other traditional musicians in Rajasthan, emphasising that: It’s a living heritage, and if the people have lost their songs, then that living heritage would die, and so I wasn’t interested at all in conservation or archiving. If they can’t earn their livelihood, and if they can’t get self-respect, then their children are never going to adopt it, and if they don’t, then it’s gone. The four, five hundred years of that tradition, they would [be] gone away.2 1 Jill Nicholls, "The Lost Music of Rajasthan," in Imagine, ed. Alan Yentob (United Kingdom: BBC, 2011), 20'-26'. 2 "Lost Music," 22'10''-22'50''. 2 Upon Bhanwari’s return home, her son explains that “Now she’s got it in her head, after having been abroad, where we had such good facilities, like good house and air con, we had never seen such things. This
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