DCCUMENT RESUME

ED 033 565 TE 499 905

TITLE A Teacher's Guide tc Folksinging: A MiniElective for Students in Grades 9, 10,11, and 12. INSTITUTICN New York State Education rept., Albany. Eureau cf Seccndary Curriculum Development. Pub Date [ 69] Note 45p.

EDES Price EERS Price MF$0.21-: HC Not Available from EEFS. Descriptors American Culture, Cultural Factors, *Folk Culture, Folk Drama, Folklcre Fooks, Instructicnal Materials, Legends, Music, *Musical Instruments, Music Appreciation, *Music Educaticn, Seccndary Education, *Singing, *Teaching Guides

Abstract To help meet the needs of ncnmusicmajor students in grade S,10,11, and 12, this teacher's guide offers guidelines fcr a ccurse to stimulate students' interest and involvement in fclksinging. Guidelines are prcvided cn the rcle cf the teacher, methods cf instructicn, and suggested time allctments. Brief descripticns and ccmments on some typical folk instrumentE--the autoharp, banjo, dulcimer, guitar, and zither--are given. A tiblicgraphy of multimedia resource materials - -hocks and Fericdicals, audiotaFes, films, filmstrip and record sets, and records--is included, with annotations for many cf the items listed. An appendix lists other types of music Productions, e.g., symphcnies and musicals, that inccrEcrate cr are based cn fclk scngs. [Not available in hard ccry due to marginal legibility of original document.] (IH) N.S. alfalfa at ilia111.tatEATION i OFFIT1 OF EDUCATION WILIAM 111S011nesPOSITIONSTAID BO 01NOT MICR. RUMMY MIRE OFFICIAL OffICESOCORRO' Of EDUCATION LAS IEEN REPROINICES Malt AS RECEIVED PION 1111011/11110011 Ol1i1N11N16 R. MINIS OF VIEW 01 OPINIONS Ore.OM a meaz-deetifie/14 7e4doeit'a Ott drealear4 9ceeete to rdeted 7diedia94,9.10. /1. amee

Bureau of SecondaryTHE Curriculum STATE EDUCATIONThe University DEPARTMENT of the State Albany, New York 12224 of New Development York FOREWORD whoanschools mightaverage inotherwise schoolNew York setting.have State A Teacher's Guide to Folksinging is thelittle second or in noto opportunitymeet the needs ofOther publications in the nonmusic majors for active participation in series includea series Teaching of curriculum materials - those students in grades 9, 10, 11, themusic Guitar, beyond Hi-Fi the 8thEquipment grade, designed to help the anJ 12 in Recordleads Collecting,to a serious and The importance of folk music misjudgment of the depth, subtlety, Contemporary Music. in human affairs has long (At this point, the and esthetic impact of folk been recognized, but its titles are tentative.) music as an art form. technical simplicity often However,and courseperience.as one of begins study towhich understand offers the nature The gains to be derived The guidelines in this publication froman opportunity a course in for folksinging students to become of folk music, participation are therefore intended to stimulate involved inin this it becomesimportant a rich and the development of rewardingmusical human medium. a local ex- whoofpeople, students minorityplay suchand reflect hisinstruments culture. not only groups as important parts of the as Inthethe addition, guitar, emotional thethe forces banjo,folksinging andthe common culture of America. values of the individual, experience autoharp,can lead toor the mountainare intangible; but the thoughts And it can also offer but also anthose appreciation of his of the traditions dulcimer an opportunity assimilated by the those students home, his widethe perform.needs, program and and explores therefore The guidelines offered Folksinging might stimulate the developmenton thereforethe following become pages a logical sequel to a are looselyof astructured, unit of study in orderwhich course of instruction in folk meets local rather than to give schools the feel guitar. state- to of any case, the folksinging . local as wellexperience might be as ethnic, national, and international offered: traditions and materials. In . Daily, for an 8- to 10-week period; . AsTwo aor full-year three times course, in expanded form; a week, for a semester; . As an independent elective; . As one segment of a year-long course; . InAs a varietymini-elective of other to ways.be chosen in combination with any or all of the other units in the series; or 1 Theregulations amount of incredit the Stateto be Education Department'sgranted to those students who participate in the Syllabus in Music, Grades 7 to 12. program will be governed by the public school music teacher. The manuscript for this publication A. Theodore Tellstrom, Chief of the Bureau was written by Bob Beers, internationally known folksinger of Music Education, initiated and and former forwitheditionQuatraro,supervised secondary the suggestionsfor and the press.schools. Charles entire of J.projectteachers Trupia. who have actually After a trial period in selected school - with major assistance from his three RitaAssociates, A. Sator, Eugene Associate J. Cunningham, in Secondary John used it, and published as part of the systems, the manuscript will be revised in accordance Curriculum, prepared the tentative new syllabus in music A. Chief,Gordon BureauE. Van ofHooft Secondary DevelopmentDirector,William E.Curriculum CenterYoung Curriculum Development ii CONTENTS INTRODUCTION:FOREWORD PHILOSOPHY AND RATIONALE 1 INSTRUCTIONAL GUIDELINES THE ROLE OF THE TEACHER 4 4 SOME COMMENTS CONCERNING EQUIPMENT A SUGGESTEDMETHOD OR TIMEPROCEDURE ALLOTMENT , 1312 5 THE DULCIMERBANJOAUTOHARP 1413 A REPRESENTATIVE SAMPLING OF MULTIMEDIA RESOURCE THE ZITHERGUITAR MATERIALS. 161514 FILMSAUDIOTAPESBOOKS AND PERIODICALS 232116 RECORDSFILMSTRIP AND RECORD SETS LPs of Individual Singers Singing Folk , Songs 24 APPENDIX SUPPLEMENTARY ITEMS - Not ReviewedCollections and LPs of Groups Singing Folk Songs 424035 ZZZ MUSICAL COMPOSITIONS BASED ON OR INCLUDING FOLK SONGS 42 SymphonicDrama,Ballet Musicals, Music and Opera 4342 iv INTRODUCTION: PHILOSOPHY AND RATICNLE socialfolkway";thesedevelop. group."became for anit importantrepresents part "a modeof their of thinking, characteristicFolksinging is a traditional, oral art. The commonfolk of a country or region often The word "folk" feeling, or acting [which is] transmittedculture. their traditions through means people; and where peopleA are,folk traditionssong is therefore common to a people or to a a kind of "musicalsong and story, and ofandmentthoughts the mores on human conditions ofor c,:nditionspecificfeelings, and groups eventsand a and sourceof thelocal ofvarious and/orinspiration. nationalIn earlier times, folksinging provided not only - as well as the particular singer's point of view. social, political, economic, religious, As a result,a authenticmeans of entertainment,folk significance, but also a medium for the expression songs reflect both the values and psychological aspects an opportunity for com- of personal scholarlyastivity guest is performers,academic firmly establishedinstitutions; and programs in which private feature folksingingRecent years have seen a on high schoolresurgence and college of interest campuses; in asfolk a curriculumart and folk music. homes, clubs, and places of public have prime time on radio and television. entertainment; and as an integralofferingFolksingers even inappear the mostfrequently The ac- part of religious services. . Something genuine and real, in To young and old alike, it an increasingly artificial, unreal, almost surrealistic seems to offer: world; . . Simplicity, in times of complexity; . Roots, in times of mobility; . AnPride opportunity of heritage, for individualin times of cPallenge; expression, in times of mass labeling; and But folksinging is deserving of . A means of communication and respect as an art form alone shared understanding, in times of isolation - for its limitless variety of expression, for its and segregation. Bigviveability Bill centuries Broonzy,to involve of Ron unwritten, and Eliran, inspire, unrecorded and The varied talents and approaches for those qualities which haveof enabledsuch folksongtransmission. artists as Joan Baez, its early songs and ballads toHarry Belafonte, Theodore Bikel, sur- SinceoccupationalmusicBernice theto includeReagon,International work traditionalJeansongs, Ritchie, Folk spirituals, Musicballads, WoodyPete Guthrie,Seeger, andLightnin' Josh White Hopkins, have Leadbelly,broadened Council apparently definesethnic thesongs, Westerntraditional folk ballads,blues and mountain "Black" andmusic, bluegrass the conventional parametersEwan MacColl, of folk folksongs, song sea as chanteys"music that and hassimilar beenprotest songs, and folk rock. Mariam Makeba, Odetta, submittA to the process of oral transmission: of continuity, variation, . and selection, all of these ...the product of evolution... are legitimate inclusions dependent upon the so long as: circumstances . ThereThey areoriginate variations and are transmitted oral/7';of the same Thus, authentic folk . They "belong" to the "folk," or a songs, bothgroup in of lyrics people. and in melody; and . Art songs- which are the work (usually copyrighted),songs can and should be of known distinguished from: composers, which are composed and circulated in written form . Popular songs- which are also show little if anycomposed variation and circulatedin words and which exist in or onemusic, version andin whichonly; written remain form (usually copyrighted), which _Country, Western, or "h1::1h.11:y" limited time; and songs- which are essentially folkgenerally songs. lack the simple dignity and other forms of popular eloquence of genuinepopular for a relatively songs and which musicalservedOver"definition"; classics 40,000in The piecesArchive and these have ofbeen recorded American of American Folk considered so fundamental Song in the folkLibrary music seem to fulfill the standards of Congress.to the history of Some of them form a people that they suggested by the have been IFMC pre- thePorgyinand resourcethe Theand appendix, TenderBess (1935), listing on the lastLand (1954). andas Anton a catalog Dvorak's of Symphony Kurt Weill's (Other works which pages of thisAmerican publication.) folk Down in the Valley (1948), in e minor, Op. 95, combinesongs issuedfolk music by the Library and Aaron Copland's'!Fz'om the New World" (1893), and formal composition of Congress has Appalachian Spring (1944) have been includedthe basisbeen for includedGeorge in Gershwiq's such personal.init living.their But folk music is own, rather than simplyThus the impactWhether of one sings a living art, which a afolk song song already may changein existence rendering it increases in value as is. For folksinging or creates a as it is songisadopted a ofprojection hisand own,adapted the of self, an experience by peopleprocess who make is uniquely Odetta,is, what "to hemake Each performer represents, and how he a song cane alive, chooses his own mode "does hiseven thing.'' to evoke a person, in which of expression. considerably from For example, if his the singer and singer to singer, aim is like that depending upon %.1:c he ascribed to 1 Maud Karpeles, Preface to C. J. Sharp's English Folksong: Some Conclusions. listener see (or hear) 2 Wadsworth Publishing Company, 1965) 4th rev. ed. (Belmont, Calif.: choosesmoreuse sharplyhis a wholeballad, the being humanhe mustas condition,"1 a firstsensitive theinstrument performer through absorb the story - with allmust of firstits implications understand the full meaningwhich the song becomes a dramatic experience. of the words and then If he particularorhisenthrall hetiming. may his usesong listenersvocal style, inflections butwith which the whichremain A folksinger may project "flat out" eloquence of his expression seem to fit the particularwithin the character bounds of that as one might talk or tell - with his tone, his phrasing and inflection, and which is natural to him. ofa story, the song without or the vibrato demands of - and then deliberately He may project or nuance; a forclassicsangimitateshimself him. comes beZ soethnic cantofromcompletely withincharacteristics,approach. intothe singer,the expressing But vocal techniquecharacter or situationor of"grooves" the in response to the music he is his personal thoughts and per se is of little importance in folksinqing song that he adopts regional burrs and feelings, in the manner most using. Or he may prefer the - because the jargon, natural What. conclusions can be drawn from the preceding material? . heritage,First of all,and thereforewe conclude vital that folk to the educational experience music is a legitimate art of every student. form, an integral part of our hwen Secondly, we conclude that . folksinging is an enjoyable activity through which students can: . RelateImprove their self-image; . Empathize with and to one another; come to understand people whc .ive in situations which are different from . Identifytheirs; proudly with their ethnic, regional, or national heritage; . . Broaden their human perspectives; . ofCome music, to lovepoetry, and andappreciate language; the beauty, the variety, and the infinite capacity for expression . Fulfill their creative and emotional needs; and . Thirdly, we conclude that Experience the enjoyment of folksinging should singing - and creatingbe as nonstructured- folk songs. an experience in the school as it is offered.It is on the basis of these withoutside the teacher's - an experience characterized by understandingconclusions help, that the suggestions finding their students listening to folk andown resourcesanswers to on the the questions following that songs, singing, performing, and ther, pages have been arise. 1 p.Ray 690. M. Lawless, Folksingers and Folksongs in America. rev. ed. (New York: Duell, Sloan and Pearce, 1965). 3 THE ROLE OF THE TEACHER INSTRUCTIONAL GUIDELINES actuallyInstruction be detrimental in history, to it. Folksinging is neither taught literature, theory, form, For a folk art is nor learned in anotation, thenatural way thatdevelopment.etc. mosthas aspects ofno musicpart inare the taught process and canor learned. The. student in a folksingingAn exposure to folk music; class needs: . . MeaningfulAn opportunity companionship to sing, modify, and create folk songs; . The tools and resources necessary for his interests and a suitable environment andfor his the particular experience; . Helptechnique, and encouragement as he exhibits in alearning desire thefor fundamentalsthem; and and requirements of stage of development;instrumental and/or vocal . aA particularresource center song orfor the such information answers to questions that arise as the words, the melody, the as he becomes involved. origin, the meaning, etc. of self-expression.musicHe may class. also need The teacher's role in He is no longer an opportunityHis function to perform. is to provide a folksinging experience is thereforean instructor; he is a catalyst, a leader-participant quitein different from his a process of musical role in a traditional hiscompanionship, students and help explore and In order to perform this encouragement,with them and the tools cultural and Lew role satisfactorily, the teacher the above-mentioned and creative aspects of folk resources. Hopefully,exposure and he opportunity,will establishshould environment learn something music through folksinging. a rapport with and Johnfamiliarizetoforms formand of Alana folkresource himselfLomax; music attendandwith center and to create begin to acquiresome of the reference materialslive listed folksinging a suitable aenvironment. supply of books, recordings, performances; participate in in this publication,He should l!sten to instruments, and appropriatefolksinging experiences; particularlyrepresentative those recordings; of about the various and, if realia 4 questions:possible, spend some time with folksingers. He should begin to answer for himself some of the following . What is folksinging? . What are the motivations for it, and under what conditions . How does it function within the individual? within the society? does it flourish? . Who are the local folksingers, if any, and what do they sing? Finally, the teacher should learn at least the rudiments. Are there any folk songs peculiar to the area; and if so, what are they? of playing the guitar or one of the other folk guitarSinceaccompanimenthavinginstruments. literallyandthe moststudents at folkhundredsall singinstruments ofto folka guitar, aresongs require only The piano is particularly appropriate for -- will produce better results than using a piano, for most folksinging experiences. easy to learna banjo,to play, an anyautoharp, teacher or should a mountain be able dulcimer to complete the a few chords for effective accompaniment,use and with since scrte the types of folk music; but in general, -- or without any A leastlessonsMETHOD an OR inelementary PROCEDUREa beginner's folksing. instruction manual and be adequately prepared to accompany his students in at singera the"lecture," center. who is or popular directions with ofthe any group. kind. Have the students -- no more than thirty in number Since folksinging should be Instead,a spontaneous play aactivity, recording avoid of familiar giving afolk preliminary course description, -- arrange themselves comfortably in a circle, facing songs, or one by a folk- therhythmaccompanystudents students of evincetheyourself handle songs. an andinterestas youexperiment sing in hearing.a folkwith song and encourage Try a "sing-along." Circulate folksongsome of the records Iffolk you instrumentsin (or their one jackets,of ortheBecause respond members and of playin theirof their thosethe familiarity, group)owl that the great variety of their -- but do not instruct -- the others to join in. can play a folk instrument, ways to the songs, and the Let songs:recordingeffectivetheirrequire sheer aWithin singer fun,conducting Voices sing-alongs who Togetkercan sing-alongs, lead are Wt-a infectious groupSing, invite andlearn whohimand the knows the tocan meet be verywith usefulyour class. intechnique, building interestand then andhave rapport; the group but sing they some of the followingsongs well. If someone in the community is especially If not, play Pete Seeger's Folkways 5 This Land LittleMichael Birdie Rowed the Boat Ashore Is Your Land GoDona,Bile Tell Them Dona,It onCabbage Donathe Mountain Down YellowI'm on Is My the Way Color ofLove's My True Bair BogDelia's in the Gone Valley-Oh AikenCum BaDrum Yah Ninety-nineTakeErie MyCanal True Bottles of Beer Love by the Hand RollBigA la on,Ship Wetta Columbia Sailed Down the Alley-Oh LimericksWe Shall Overeome WhereGood Night,Have All Irene the Flowers Gone? LiverpoolLassiePuttin' with onFarewell thethe AgonyYellow .Coatee 'TomThe BlowingDooley Brazos in River the WindSong AllCoulter's the Good Candy Times Are Past and Gone 1 Jacob's Ladder Down by the RiversideStudy (Ain't War no More a' Gonna Drill,Waltzing Ye Tarriers,Matilda Drill ItSo TakesLong, aIt's Worried Been ManGoodWorried to Sint? Song Know' Ya a He'sClementineThe GotSaints the GoWhole Marching World Inin His Hands GoEvery Tell TimeAunt IRhody Feel the Spirit 6 Vine and Fig Tree (Round) IfBlack I Had Eyed a Hammer Susie KilgaryColonyThe Cat MountainTimes Came Back TurnipLet Us GreensBreak Bread Together Marching to Pretoria . Boardcations),Other (Markssongs Herbert whichPublishing Haufrecht'sare suitable Co.), FolksingRonnie Gilbert's(Berkelyfor siny-alongs MedalionThe can be found in 101 Plus Weavers' Songbook Publishing Corp.), Beatrice (Harper andOlean Row), and5 Folk Songs for Camp (Oak Landeck's Get the many song onPubli- willarecollections soon"catchy," disappear. listed melodious, under If the students are strangersThe students to one another,will begin orBOOKS simply AND familiar,PERIODICALS and in if the resourcethe segment first few thereof sessions are things to handle and talk about,maythis seem publication. awkward. But if the the awkwardness songs subject,orandingredients createTake suchMy some True ofas of folksinging.birds, their which Love by the Hand), the own. For thosewillAnd suggestthey will the offer titles songs that studentshave many will begin to sing naturally and their favorite selections. of other songs with toverses supply (e.g., lines Limericks, they spontaneously Some of these have heard outside-- and theseof are the vitalPuttin' on the Agony, may have a central class currentwellthevarietyMorn, knownsingers, Thehappenings of songsLonesome folk and that musicthe Dove, is instruments;they requests can make to their "own." A possibleZa Voletta, when She subjects is like borrow books and are explored, and theAs timestudents goesa Swallow, The Mexican Owl recordings;on, there will exchanges be questions of about the same subject (e.g., Song, etc.).will begin to search information about An endless the songs,Lark in the for less increasinginstruments; delight ultimately, in The folk songs that will on the folk scene; getting together a few enthusiastic plans for be most popular with the a desire toto learn sing. a performance or anew festival; songs; an interest in learning to andplay folk -- always -- an of the following categories: . members of the group probably fall into one or more . Anglo-American ballads; . BluegrassFolk blues or andmountain Black music; music; . Folk rock; and 7 Much .to the consternation of theTopical or protest songs. true musician, young people in folksinging classes tend to imitate tionalfundamentalproducethethey "folksingers" tendpull easily totoaway adoptlearning,identifiable from they the stereotypes hear characteristicsthere itemsthrough is andfor "thehigh of a natural backlash amongtelevision, folk enthusiasts radio, and records. the standardvolume "folk" over-the-counter sounds sales. developedIn their byearly recording stages companiesof development, to But, althoughand imitationyouth alike is -- a gravita- tne teacher can do much to pagesSelect ofthe this recordings publication for hisshould encourage this movement. resource center carefully. prove helpful here.)establishment," toward individuality For example, he can: (The double listing of LPs in and self-expression. the final And takeEncourageinIntersperse anclass. active thoz:e recordingspart students in class offor authentic whom discussions, choices, and performances. traditional folk musicfolk is music with commercial a part of their home and heritageproductions, to as they are played Presentperformers;Invite films, ethnic they filmstrips, or may traditional be friends and/or folksingers to meet with the orclass. relatives of the students,slide-tapes or ofsimply authentic local folk (These need not be recognized or area residents.) Interestidentifythe social the studies, studentscharacteristics humanities, in folk oflore, authenticvisual arts, folk orart. language arts folk arts, folk instruments, and teachers, and help thearts, students perhaps in conjunction with folk sounds. to varietyvocalandThus, authentic techniqueswith of.folk a littlefolk sounds, have music ingenuity, become theand, teacher shouldmodes of modernhopefully, folk theto sk.";11fulprefer the teacherlatter. expression; therefore,can help his students to discriminate However, many of the commercially as he exposes his class to between commercial popularized a wide thetheir teacher own preferences.must be After the first few sessions, the aware of the interests of his particularSince these will differ students will begin to exhibit individualencourage his students to make their considerably from student to group and develop his student and from own choices interests,and to develop needs, andprogram accordingly. area to area, flexibilitypersonalizedabilities; ;and,andprogram the of teacherof instruction. course, his resource center. must be prepared to meet all of these through His most valuable assets will be warmth; an informal, varied, and highly perception; ingenuity ; 8 andFor a thosewealth students of recordings who i;refer and song just materials, to listen postand sing,notices the ofteacher folksings can provideand festivals the opportunity on the DepartmentpriateForbulletin those instruments board, whopublication want and andto encourage learnentitledself-instruction to those playTeaching astudents folk manuals.the instrument, Guitarwho enjoy may heperformingprove can usefulprovide to here.) workhelp within selecting this group. appro- (The guidelines established in the recent In addition, the opportunitieshisskillsfriendlyteacher attention and can companionship,techniques for useto hisandhis studentssincere valuabledescribed his praiseawareness toknowledge inshine theof evenmanuals;of of possible musicminor and inachievements, trouble hehelping can encouragespots, his andstudents his his their readiness attempts to efforts master toto byhelpthecreate his variousif needed, -- first before their classmates and peers, and then, studentssituationForperhaps, those will before andwho draw ahave othersfolk their a songcreative ininspiration; theresulting community.bent, fromtheplay teacher it;word broaden or can melody showthe games;basethe relationshipof enlist experience the betweenaid from of which thean eventvisual his or theirfortheofarts thetheiruse orpeers significanceofthe songs. localbylanguage promoting or nationalof arts sounds; a teachersrelaxed, events and encourageinfriendlyor heighteningsituations, atmospherethem tohisphotographic experiment students' in the class essays,withperceptions; andnew graffiti,affordingsound make combinations etc.,themample more asopportunity a andbasis Further, he can help them to secure interested, constructive criticism from aware varietynativeForfor thosethe toof students a print whoseparticular andinterests to nonprinttry region, their lie material tradition,inefforts learning fromout or onhis ethnic the resource other memberscenter (seeof the the selective multimedia more about folk music in general or that which is group, the teacher can make available a wide group. enableknowledgeabletotechniquesresource visit them folk listtofor meetpersonsart, unearthingat theand,musicological, whoend perhaps, sharetheseof this theirthingseven anthropological,publication) tospecialized on work their with andown. interests. cultural,authentichelp his studentsand/orfolksingers ethnic to acquireand/or centers. otherthe tools and In addition, he can make it possible for them And he can encourage them to do He can instylestechniques,programs,projects, the andresource orsuchmotifs. etc.; exhibits; aslisting orfield the in-depthin recording;composition this publication.)studies the and collection ofperformance particular of of datasongs, original and singers, the music preparation subjects,using observed of styles anthologies, folk or (Two excellent books on the techniques of field recording have been included . Finally, for those students who evidence both the talent and the inclination to heco?.:( 9 folksingers,andescriptionappropriateand extremely performance the offorvaluable which teachertheirtechniques; hassourceparticular been toof included encourageinformation stage underof theirdevelopment. for BOOKS efforts;potential AND PERIODICALS and professionals, to provide in the performance and it is wittilyopportunities an do muc' to help them learn the fundamentals of instrumental, vocal, Hermes Nye's How to be a Folksinger (a resource listing) is ofthisdeliveryfolkpresented the end, song,following willthe in some teacherbea true publicationsnecessarytraining entertainer'sand his inif theverystudentsthe elements singeruseful:rashion. might is of to findprojection, communicate the expertise articulation, effectively of a speech withphrasing, teacherhis audience. timing, and and Since the message is the most important part of one or more Toward a Adler,DeYoung, Kurt. Richard. Press. 1967. Phonetics and diction in singing. The singer'spa. art. Waukegan, Ill. Minneapolis. North Shore Press. University of Minnesota 1968. Marshall,Klein, Joseph. Madeline. D. Van Nostrand. Singing techniques: The singer's manual of English1967. diction. how to avoid vocal trouble. New York. Princeton, N. J. G. Schirmer. 1953. ofIn timbre, addition, or atthe the music very teacher least, mightrecognize be able the tofact Vennard,help that his William.budding pa. Singing: the mechanism and the technic. one does not sing the blues, for example, folksingersNew York.develop an awareness Carl Fisher. 1967. studies,andmeetexposewith take andthe his humanities,advantageworksame students withvocal ofprofessional toqualitylanguage opportunities a wide he arts,variety mightfolksingers. visualto ofperform recorded arts); in folk sounds and, perhaps, use in presenting an English ballad. Lastly, he can create and help his studentstheir own class; in other classes (e.g., And the teacherarrange can for them to to findsocial first, because there are no clear-cut types; and secondly,The suggestions because offered above shouldfestivals; not be restricted at community to thefunctions; and in folksinging in assembly programs; at school dancescompetitions. alltypes of the of membersstudents of described a folksinging in each class case or arts -- ordoandfolkshould school-and-community some folk sounds; have"field arts; theswap recording";contribute opportunity songs folk and to try music participatetoor their sing,solicit programs. handwith contributionsin at thediscussions; composing forand explore theextemporizing; their and Andgroup there and arein soloa variety performance; of these: listen to a variety of authentic resource center; learn to play a folk instrument; own backgrounds for singing traditions play an active part in school 10 . CherrymusicThe music isTree often departments .7,2rot already are ofusuallypart most of schoolsincludedthe in the repertoire. present seasonal concerts and assemblies in which folk For example, the lovely Silent Night and The andtriopaniedsongs, thus or by the ensemble, enhancea formermountain the ororiginally dulcimer.effectthe entire of written the entire for voice and guitar groupAdditional can add selections a simple rendereddignity, bypathos, or program. Christmas program. and the latter traditionally aBoth single of theseperformer, are folk a folk a joyful exuberance accom- . sing-alongsoloToward and the group songs,end performances.of rounds,the semester, or verse-chorus the class The selections might revolve about mighttypes present in which a fullthe audienceprogram ofcan folk participate. music, a theme, perhaps, and include featuring . withsodaperformanceTablesAs afolk betweenfund-raising with songs, area.smallsets. "breaks," lampsproject, or and favorsthe sing-alongs, class and mightseveral Periodically, various members of hold a folksingand then or serve a dance them in coffee,chairs mightchocolate, be arranged around the class might entertain their "customers" a "coffee house." a dance floor or espresso, or . embroidery,folkappropriateToward music, the ceramics, endfolkadvertising; of dancing, the jewelrymaking, school programscompetitions, and exhibits year, the entire student body might hold a folk festival, with etc.; folk entertainments, suchand as games;folksinging, and an evening event such of such folk arts as painting, weaving, sewing, as a clam steam or instrumental becomechart indicates,involved are that the students sing and There are endless possibilities;a butpancake the supper, a folk dance or a folksing, of their own accord. important aspects ofplay a coursefolk music in folksinging, rather than learn about it or even an auction as a finale. and that theyas the following SUGGESTED TIME ALLOTMENT* (50 Sessions) Number of Sessicne 3 Introduction: Stiggested Emphasis aboutpossiblefolkor amusic familyguest. song scene. or traditions, friends who or have observations singing Sing-alongs and casualFolk discussion songs by the teacher, able A probe into family backgrounds traditions.by students ofstudents, the for 12 volunteering.casualrecordingsRecordings discussion inof therepresentative of folk each. field. styles of Discussion of favorite Sing-alongs and song singing and securingtoautoharp.another play anofappropriate instrumentthe simpler self-instruction might folk theninstruments, receive Those who become interested in learningStudents might try to play materials. helpsuch in as theone or 15 songlearningetc.,variousSong accompaniments swapping. to strums,toillustrate play finger-pickinga andfolk the perhaps instrument.variety interest techniques,which others in Demonstrations by instrumentalists of exists in folk- fiddling, 20 performancesolosContinuedin the around folk sing-alongs techniques, aidiom, circle. group and if songdesired. swapping. Help in learningor ensemble vocal work,and/or and impromptu Creating songs folkSince music,the students' the pattern rate outlinedof development will be affected by their inhibitions,here should be adapted to the local situation. interests, and knowledge of 12 SOME COMMENTS CONCERNING EOUIPMENT followingsimilar displaymight also areas, be included,and the oft mentioned A classroom for folksinginq should have movable even though instrumental instruction is not essential resource center. furniture, ample space for sitting, A collection of folk instruments to the course.bulletin boards or such as the equippedTHE AUTOHARP with a series of labeled chord bars that lieInvented by C. A. Gutter in the latter part of the nineteenth century,across the all the strings. autoharp is a chord zither diatelyplaydepressed,instrument other and, folkthe atfor the strings instruments.beginners same aretime, ondamped thedevelop folkto produce the The Appalachian model is sensitive; versatile; scene because they cana sensitivitylearn a simple for chordschording which will desired chord. The autoharp is therefore prove helpful in learningand, becauseto it hasWhen a particular bar is technique almost imme- an excellent a larger THEofmasternumber this BANJO it. publication.of chord bars than most of the A useful instruction film by Pete Seeger others, offers an almost unlimited has been included in the range for people who want to resource listing at the end thestretchinghistory length of ofamusic piecethe inmodel. of the coon United skin States. A derivative of the African banjar, With these they accompanied the over a hollow gourd, attaching a handle, and then running Plantation theworkers American in the banjo Deep is South one ofmade the most songs and dances that are reputed to be the only important instruments in thetheir instruments by four strings along whenMovementWings.overtruly it a wascircularnativeand replaced with American framethe by performers of thefolk wood guitar, music. or in metal the and In one or another of these forms, Later banjos were made by tightly stretching minstrel shows or "banjo operas"attaching of the athe long instrument neck, a bridge,was popular and eitherwith the 1800's.pioneersa skin or of parchment the Westward membrane four, five, or sixUntil the 1930's, gutpated strings. sounds leading to the early The American or "finger-style" banjo The fifth is a drone form of jazzor "thumb" known asstringthe ragtime. banjo which was lends part colorof the and rhythm excitement has a shorter neck, a fingerboard, raised section of most dance bands, its metal frets, and fiveto the strums and synco- balladregister.ofgivesobtain its identitysingersadditional and impractical forto thefrets,its instrument.particular forprovides beginners. timbre There is also a fretless mountain model. a greater rangeFolksinger of easy Pete keys Seeger and makes has developedit easier or for certain primitive effects, But although this type of banjo is preferred by a long necked model which, becauseit is relatively difficult to to play in the lower some 13 theinstrumentcanbut fingerscreateone can isaof play harmonic usuallythe melodies right tunedbackground hand: on in it, one ofand of fast athe truly arpeggiosfollowing accomplished Thewith banjo the banjo topis primarilynotesplayer coming used through to establish as the rhythm and harmony of ways and then played by strumming the strings with -- like aa virtuosopiece rather guitarist than the-- melody; song. The THEinA filmthe resourceand an excellent listing. instruction manualDULCIMER developed by Pete Seeger for Oak Publications have been included Centralstringboxment with brought stretched Europe up to to infive Europeover the metal fixedseventeenth by stringsthe frets, Crusaders centurystretchedand two drones. The Appalachian dulciY7..er is a folk onor theirmountain return zither from werederived the played Holy from Land.by an striking ancientacross thePersian stringsit. stringed with smallinstru- mallets, but the The dulcimers that became popular with the The most popular form has three strings It consists of a wooden sound peasants of -- a melody southeasterneasytone;withAppalachian to aparticularly turkeylearn model parttoquill play. of isappropriate ortheplayed a Unitedsmall by forstickstrummingStates traditional, held until thein folksingerthestrings Appalachian left. Jean And it is beautiful in appearance. with the fingers of the right handLike andthe stoppingautoharp, the instrument is beautifulLittlefolk music;known inRitchie outsidecomparatively brought the mountain inexpensive;it to nationalregion andof attention, the the them publication.WestLocustAppalachianby MissFrederick Avenue, Ritchie, dulcimer Street,Port published Washington, is Staunton, available by Oak NewVirginia. from Publications,York; most and distributors from A. W. Jeffreys' Also available is an illustrated instructionand describedmanual developed briefly under BOOkS of folk instruments; from Jean Ritchie, c/o 7A Appalachian Dulcimer Corporation, 232 AN P ii:HIOPTCALS in this TRE TheGUITAR instrument used most often by beginning folksingers is, of course, the 14 guitar. It is currently stringitpopular, has (Spanish, a beautifulcomparatively classical, tone; inexpensive, and or itfolk) produces guitareasy theto is learn, quiet,preferred and by responsive mood befitting a ballad.particularly appropriate for folk music. many ballad singers because it is easy to play; The steel string The nylon instrumentalguitarinstrument'sit(Spanish, has iseffects, stablealso country, used special andtuning foris nottimbre.powerfolk recommended music,under stressbut forprimarily andbeginners. produces by or dobro) guitar is preferred by most folk blues or country and Western It is generally unsuitable both for ordinary folksinging playersbrilliant who instrumental specialize effects.in music that requires the The teacher might find it helpful to consult The twelve-stringand for intricate artists because THEmanuals,thethe ZITHERmore Department's andpopular a few models, recentguidelines curriculum for instruction publication in entitledfolk some good advice for potential buyers, an annotated listing of self-instruction guitar. Teaching the Guitar for a detailed description of steelstringsfingerboard,ground and music -- stretched one fora setlarge The foracross Thirdsoundhole melody theMan and fingerboard.inin 1950.anotherthe center for ofaccompaniment. theThe zither is an Austrian folk instrument that It consists of a flat wooden box withThe remaining strings surfacebecame popularor soundboard, the world and over as manywhen it produced The four or five melody strings one long side, a fretted as forty-five are made of the back- zitherthirdthemsingle by fingerstone.produces pressing of a histhemseries right against of hand,sounds the he fretsmuch plucks with the the The player plucks the melody strings with like those of a harpsichord, but it is rather difficult open strings to producefingers a harmonic of his accompaniment. left hand. a plectrum attached to his right thumb and stops are made of gut, each one tuned to a With the first, second, and to learn to The forplay folksinging. and therefore generally not recommended The guitar, the banjo, the autoharp, But there are a host of others and the dulcimer for beginners. on the folk scene: -- these are the instruments most commonly used the fiddle, the piano, the zither, the tionsforms,evenrecorder,instruments themight sounds, harmonica; instruments be are ofcombinations, made,interest: and belonging andstudents others and totechniquesshould specific be encouragedof their to bring these may want to try to make one themselves. national or ethnic groups, a whole own. Some of the students may want to know how folk to class and to experiment with new For these, the following publica- range of rhythm instruments, tratedandfor& Songstep-by-stepmaking instruction Society, an Appalachian instructions1966) manual fordulcimer; making(New York: - a 52-page manual containing complete instructions, diagrams, and measurementsJohn Bailey's for Making a classicalIrving Sloan's guitar. Classic guitar construction: Dutton, 1966) - a 95-page, $5.95, well written and fully illus- an Appalachian dulcimer (London: diagrams, phot-ographs,English Folk Dance A REPRESENTATIVE SAMPLING OF MULTIMEDIA BOOKS AND PERIODICALS RESOURCE MATERIALS Asch, Moses, & Lomax, Alan, eds. Silverman;songs "adapted, and biographical arranged,A revised or notes editionadded by to" ofPete bythe folksinger popular Negro Huddie Folk The Leadbelly songbook. Seeger, Woody Guthrie, Fred Ramsey,Songs andas SungCharles by Lead Belly, the present Oak. Ledbetter;1962. musical transcriptions by Jerry volume contains 74 Smith. Balys, Jonas, ed.paedia Publishers. melodies of 250 of theA collection songs transcribed of 472 Lithuanian from Lithuanian faksongs in America:1958. songs and ballads in Lithuanian and in English translation, narrative songs and ballads. Boston. Lithuanian Encyclo- with the Belafonte, Harry. American Negro, andA Thecollection West Indies. of 40 Songs Belafonte sings. songs from the Belafonte repertoire, divided into 3 MusicalNew York. arrangements and adaptations, 18 tape by Lithuanian composer V.Duell, Jakubenas. Sloan and Pearce. parts: 1962. drawings, and a prefaceAround in the World, The Botkin, B. A., ed. arewhich included. the author describesA "Treasury" his backgroundof the "Folklore, Legends, SidewaZks of America. Indianapolis. and explains his use of folk The Bobbs-Merrill Company. songs as a means of communication 1954. Carawdn. Guy & Candie, eds. Folk." This collection of over 50 We shall overcome. songs used in the sit-ins, freedom rides, and voter campaigns Sagas, Traditions, Oak.Customs, Songs, Stories, and 1963. Sayings ofof Citythe Southern Colcord, J. C. people.Freedom Movement suggestsA collection how "topical" of over 100 traditional sailor Words, music, guitarSongs chords, of American and extensive saitormen. or "protest"pa. songs often become the living folk Oak. documentary photographs are included. songs of the common Courlander, Harold. mentary notes on the songsA broad and survey the singers. of "the largest body Negro folk music U. S. A. of genuine folk music still alive in the United Columbia Univ. Press. songs which includes illustrations, guitar chords, and docu- 1963. States" by an Dorson, R. M. colonialauthority to onmodern American times;A lively, Negro distinguishes musicreadable, and and American folklore. very useful introduction to American folklore,The Univ. which of describesChicago Press. the author of many betweenbooks on folklore the subject. and fakelore; and includes such 1959. the field from 16 "Regional Folk Cultures," "Immigrant Folklore," "The Negro," and "A Gallery of Folk Heroes." chapters as Ewen, David. of Tin Pan Alley, Sraodway, and tionOverHollywood God'sto American -Heaven: New OrleanspopularA well jazz,music indexed swing,as a studywhole. and insymphonic which the jazz. early chapters "The People Sing: Panorar:a The SongsAmerican of the Negro"popular are music: especially useful as an introduction to folk song in rela- the story of our national ballads and folk scngs - the songs Our Folk Music" and "Gonna Sing All Prentice-Hall. 1957. Folk music: Recordingand Latin Laboratory.America on phonographArchive records. of Folk SongThis and catalogis available lists atthe a bestslight of chargethe more from than the 16,000 Superintendent records ain ofcatalog the Documents, collection of folk U.S. songs,of Govern-the ballads,Library ofdances, Congress instrumental pieces, and folk tales of the United States 1964. Washington, D. C. The Library of Congress, Music Division - Folk music and dance newsletter. mentlists Printing FM folk Office, musicA stations,Washington,periodical recent whichD.C. folkincludes recordings, news of andcurrent new folksong happenings publications. in the world of folk music and folkdancing and 118 West 87th St., New York. 20402. Folk music yearbook cf artists 1964. pa. 50index;grass, pages andblues, of listsadvertising. and of gospel books,An excellent folksingers; folk music collection clubs,the guitar; ofrecord photographic scenes companies, from material thepromoters, 1963 which Newport and includes agents. Folk sectionsFestival; on an trnditional, artist popular, blue- Fairfax, Va. Jandel Productions International, Ltd. Also contains almost 1964. Goldstein,Glazer, Tom. K. S. Western civilization.A comprehensive guide to the methods and techniques of collecting dataA andnew materialtreasury fromof folk :olk songs. groups in A guide for field workers in folklore. Grosset and Dunlap. American Folklore Society. 1964. 1964. Hague,Guthrie, Albert. Woody. the American Revolution.A collection of folk songs which contains music, guitar chords, and a representative series Theof songsBurl AmericanIves of song folksong. book. ed. by M. Asch. Ballantine. pa. 1953. Oak. Haywood, Charles. . "The AmericanMore BurlPeople Ives.A comprehensive,North of Mexico" annotated, and "The andAmerican thoroughly Indians indexed North bibliographyof Mexico." of folklore and folk songs in two volumes: A bibliography of North American folklore Ballantine.and folksong. 1966. 2 vols. Greenberg. The selections in Book 1951. One have been organized under general, regional, ethnic, occupational, and miscellaneous headings. 17 The international folk music journal. Folk songs of the vorld. New York. 118 West 87th St., New York. John Day. 1966. pa. Bantam. The Joan Baez songbook. andtionsChild composed areballads; included. songs. broadsideA collection ballads; ofAmerican 66 songs from Miss Baez' New York.Brief historical annotations, piano Ryerson Music Publishers, Inc. balladsrepertoire, and songs;grouped hymns, into 6spirituals, categories: and guitar arrangements, and 68 1964. and lullabies; and modernlyrics and laments; color illustra- Karpeles, Maud, ed. including guitar chordsA collection by Ethel Raimof 183 and songs from Folk songs of Et4.rope. over 30 peoples in the original language and International Folk Music Council.notes on song sources. Oak. a singable English translation, International. Folk Music Councilthe peopleand Royal Thewho collectingknow,A small,recording of compact,folk live music and and very other useful manual which performances in the field, transcribing Anthropologicalethnomusicological Institute material: of Great Britain contains information about recording a manual for field workers. from the tape, and taking and Ireland. equipment, contacting 1958. London. Kines, Tom, ed. ingssound of films.the time, andA thecollection words and of over 60 Elizabethan Songs from Shakespeare's plays and popular songs which includes Period broadsides, traditional songs of Shakespeare's time. Oak. ballads, engrav-1964. Lawless, R. M. description of folk instruments,A collection of information about Folksingers and folksongs in America. a list of folklore societies andfolksingersmusic folk of festivals, the and songs folk from songs Twelfth which Night,includes New York. Well, Sloan andetc. Pearce. as they were actually sung.biographies of folksingers, 1960. a Laws, G. M., Jr. American Folklore Society. song books, and a discography of folksong records. Native American balladry: "a descriptive study Austin. Univ. of Texas. 1964. and a bibliographical 8;ZZ:thus. a bibliography of folk- rev. ed. The groupedthefact;types, bibliographical of forms,into the _everalNegro's and variants syllabus,Acategories.contribution comprehensive of native study of native nearly 200 native ballads in the oral traditiontoAmerican American ballads balladry; which and includes of theAmerican British ballads; ballad traditionof ballads as dramatic narratives a discussion of the origin, distribution, have been summarized and and as records of in America. In Leach, Maria, & Fried,2 vols.Jerome, eds. A scholarly dictionary which contains New York. Funk 4 Wagnalls. Funk & Wagnalls standard dictionary1950. of folklore, definitions, descriptions, derivations, m;tholog;, and L,gend. 18 and titles in the broad field of folklore, mythology, and legend. Folk songs are included. explanations, etc. of terms Lomax,Lloyd, Alan,A. L. ed.& De Ramon y Rivera, I. A. Folk songs of North America. Fcilk songs of the Americas. The International Folk Music Council. Oak. Lomax, John and Alan, eds. discography. A collection of North American folk Cowboy songs and other frontier ballads. songs which contains music, guitar chords, a bibliography,Doubleday. 1960. rev. ed. Macmillan. and a Nettl, Bruno. folksinger, pop-folksinging,AnA collectioninvigorating and cityof introductionWestern blues. folk to folksinging in An introduction to folk music in the United songs which includes music and guitar chords. the United States with a fine treatment of the States. pa. Detroit. Wayne State Univ. Press. professional 1962. . FcZk and traditional music of the Western Continents. The New Lost City Ramblers songbook. America, the AmericanA highlyIndian, readable and the introductionAmerican to the music of Oak. Negro. the Americas, including that of South Prentice-Hall. 1965. as well as North Niles, J. J., ed. Ramblers, includingA introductoryAcollection collection of notesof mountain 125 by old John andbut bluegrasstimely The ballad book of John Jacob Niles. songs transcribed by Hally Wood from the singing of The New Cohen, Mike Seeger, and Hally Wood. Houghton. 1961. Lost City . & Smith, H. L. Folk ballads for songs which includes music, guitar chords, and illustrations. 900 miles. ladeers of American folkA collection music. of 70 traditional ballads, blues, andOak. 1965. youngIncludes actors. introductory notes by Woody Guthrie, Harper & Row. folk songs of Cisco Houston, Moses Asch, Lee Hays, and one of the legendary bal- Nye, Hermes. selectionothers. of an instrument,A collection vocal oftraining, useful information about How to be a folksinger. Oak. 1965. amateur, semiprofessional and professional folksinging - the O'Sullivan, Donal. Lochlainn. music, and guitar chords to 23 1952. Irish folk music and songs, more than 50 photographs, and a bibliography.song. Cultural publicity,Relations Committeeprogramming, of Ireland.etc. Also included are the words, Dublin. Colm. 0. harpers and their music,A brief later description Irish folk of Irish folk music which includes melodies, Anglo-Irish songs, folk dances, and a discussion of seven early collectors, the Irish Irish fiddlers - by the director of folkmusic studies at Dublin University. 19 Paredes, Americo. 1958. political,which reveals and "the economic extentA scholarly phenomena." study of a particular "W:rh his pistol in his to which folkloric research corrido, or Mexican borderhand," a border ballad and can serve as a tool for the ballad, in its socialits hero. Austin. interpretation of social, andUniv. historical of Texas Press. setting Paz, Elena, ed. andfrom a theforeword singing by ofPru folkA Devon.collection of traditional Favorite Spanish folksongs. musicians. songs from Spain and Latin America, Includes literal translationsOak. more than 45and of notes which on were the taken songs, guitar chords, directly Ritchie, Jean. Kentucky;thedescription dulcimer; a bibliography;of directions the earlyA highly informative and The dulcimer book. forcraftsmen; tuning aand brief playing butentertaining account of the Oak. 1963. it;scholarly a collection history of of 16 the 3-stringed Appalachian dulcimer, songs from the Ritchieinstrument; family of some which includes reasons for playing a . $inging family of the Cumbertands. a discography; and a listing of books and records by Jean Ritchie. Sandburg, family is illustratedAn by "important piece of socialCarl. Carl Sandburg's Maurice Sendak and interwovennew American songbag. history, told with sharp Oxford Univ. Press. with the words and musicvision and keen1955. sympathy," of 42 folk songs. this story of the Ritchie Scott, Tom and Joy. from An otherinterestingly collections, annotated and from collection Sing of America. performingCrowell. folk artists. of 59 songs drawn from 1947. New York. Broadcast Music,Sandburg's Inc. earlier The American 1950. Songag (1927), Sherman, Allen. andcollected "Pecos andBill" arranged byAn "authenticfor record and My scn the folk singer. Joy Scott. pianointerpretation and guitar ofby AmericanTom folksong" Scott, with lyrics for "Paul consisting of 35 traditional Bunyan," "Johnny Appleseed," tales and tunes Silber, Irwin, ed. Great"Study Vision War NoUnites More," Us."An international collection Lift every voice!: "Commonwealth of Toil," "Wasn't of 76 songs dedicated the second people's songbook. to the causeThat of apeace Time," and "A groupedMan's New York. a Man for AllPeople's That," Artists,and "One Inc. under such titles 1953. as (April-May, 1964). "TraditionalThe editorfolk artists of Sing Out! pp. 8-14. andcapture compiler the andcampus." editor of Sing Out! The Folk Music Magazine. Vol. 14. No. 2. 20 byAmerican traditional college singers and campuses away from "pop" and commercial instrumentalists. Songs of the Civil War describessongs toward genuine traditional music the movement on performed Silverman, Jerry. and Big Bill Broonzy Anand instruction includes arpeggio, manual in walking the folk-blues bass, boogie guitar woogie, method and which blues presents strums. the styles of Josh White, Leadbelly, The art of the folk-blues guitar. Oak. 1964. . bibliography;graphicalincludesFolk sketchesa superb andblues. a discography.ofcollectionA resultsuch famous of of author 110blues American Silverman's artists folk as graduatebluesBlind songsLemon studies arrangedJefferson, at NYU,for Leadbelly, voice,this "musicological piano, and Joshand guitar;White; consideration abio- of the art form" Macmillan. 1958. . Petetablature Seeger, forThe which overfolksinger's is30An availablefolk instruction guitarsongs. with guile. manual the manual. for guitar-pickers and folksingers which includes the words, music, chords, and Oak. Instruction is based on the Folkways record1962. (FI 8354) developed by . pickers andThe folksingers. folksinger'sA sequel guitar to the guide. first volume, this second guide is intended for use by intermediate and advanced guitar- It contains a wide selection of songs, music notations, and tablature.Vol. 2. Oak. 1964. Wachsmann, K. P., ed.International Folk Music Council.from more than 100 Acountries useful list or regions.of recordings of authentic folk music performed by traditional folksingers and folkmusicians International catalogue of published records of folk music (second series). 1960. Identifications and brief descriptions are included. London. Instruction, Stadium Building, Room 320, UniversityThe offollowing Colorado, audiotapes Boulder, Coloradoare available 80302. from the National Center for Audio Tapes, Bureau of Audio Visual AUDIOTAPES American Folkways. programs. Folksong recordingsTheBallads Blues Old -and 30and livemin. New performances- 30 min. by folksinger Bruce Buckley have been taped for Allthe materialfollowing is authentic. Miami Univ. 1961. FolkmusicSingin',Singing'Lover'sCarols and Lament ofGatherin'-and SpiritualsProtest Workin' - 30 -min.30 The -min. 30 Negro min. and the KKK - 30 min. - 30 min. Songs of Many Wars - 30 min. 21 Songs of the Appalachians - 30 min. TypesTraditionalSongs of Americanthe Negro Ozarks"Least FolksongsJazz 'Un" - 30 min. - Modern Folklore? - 30- 30min. min. - 30 min. Folkmusic of the Nations. their commentaries theForeign importance students at the University KUOM. 1961. of folk music of Minnesota present the as a reflection of the culture, geography, folk music of their countries and climate, and reveal in national characteristics ofFinnishAustrianCzechoslovakianChinese Folk FolkFolk Songs SongsSongs Folk Songs - 30 min.- 30 min. a country and a people.- 30 min. The audiotape includes the following segments: SwedishSouthernJewishNorwegianNorthern FolkFolk German German Folk SongsSongs FolkSongs Folk Songs Songs - 30 min. - 30 min. - -30 30 min. min. Folksongs and Footnotes. station of Boston University.Folksongs and Footnotes is WBUR. - 30 min. 1961. a very unusual performanceThe audiotape of little-known includes the folk music produced by the radio FolksongsFolkChildren'sThe DancesBasso About FolksingerofGame thea SongsUniversal World and LullabiesSubject - A Rare Occurrence - 30 min. - 30 min. -"Love,- 30 min.Marriage, Courting" following segments: - 30 min. AnTheFolksongs Introduction Refugees Dealing Sing to theWith Varieties SpecialPrayerMilitary and Events, ofMen Religion Folksongsand Matters Persons, and Places in History - 30 min. - 30 min. - 30 min. - 30 min. WorksongsASound VisitReview and to ofof Rhythmthe Favoritethe Home WorldAround of FoZksongs Boston the World of - Folksongs Recorded in Displaced Frsorft Camas 30 min. Folksinger Shep Ginandes -the 30 English-speakingmin. World - 30 min. - 30 min. in Europe in 1949 - 30 min. The Singin' Man. folk music againstDerived from authentic folk Univ. of Texas. a background of guitar accompaniment, 1961. sources, the ballads and folk songs on this colloquial narration, and tape are sung by a collector of semidramatization 22 of brief episodes. "Barbara Allen," "Here Am I," "Serian Los Dos," and "Little Liza Jane" Titles include the following: - 14.5 min. "The"DeBallit"Billy Erie Boy," Canal,"of De "Jesse Boll "The Weevil,"James," Wide Missouri," "Bound"The Stellen," for and the "Marching Ri-0"Bosch Grande," and "Skip-to-Mah-Lou" Boys," andto "LaPretoria" Borrachita" - 14.5 min. - -14.5 14.5 min. min. "I"Henry"Froggy Know WhereMartins," Went Ia-Courtin'," Am "SarieGoing," Marais," "Gypsy"Turkey Davy,""Vuela, Reveille," "The Vuela, "Fox Wayfaring Stranger," andPalomita," "Marching and to "Cotton-eyed Pretoria"on the Town-0,"Joe" and "Sourwood Mountain" - 14.5 min. - 14.5 min. 14.5 min. "Little"Lane"Jack Country,"O'DiamondsJoe the Wrangler," "Bury (Rye MeWhiskey)," Not"I Rideon the "Santaan LoneOld FePaint,"Prairie," Trail," "The and "When the Sun Goes Down," and "Old Dan Tucker"Roving"Old JoeGambler," Clark" and "The Crawdad Song" - 14.5 min. - 14.5 min. - 14.5 min. "Sweet"Nightherding"Lord BetsyRandall," from Song," "ThePike,"14.5 "SamBuffalo min."Out Bass," inSkinners," the "Streets Wide "BarbervilleWorld," of Laredo," "Kitty," and Jail," and "Go Tell Aunt Rhody" "The Old andChisholm "Ain't Trail" A-Gonna Be Treated This-A-Way" 14.5- 14.5 min. min. The Autoharp. Johnson Hunt Productions, Film Center, FILMS La Canada, California 91011. 1955. 19 min. b&w. 16 mm. The Blues. using chord charts, andThis playing short thefilm autoharp demonstrates the fundamentalsBrandon Films, 200 West 57th St., New York, New York in aof variety autoharp of accompaniments,ways. working out chord 10019. 1963. 21 min. color. 16 mm. patterns, The five string banjo. of noted blues singersA incolorful the South. treatment of the environs, themes, and music Brandon Films, 200 West 57th St., New York, New York of the blues, featuring the songs and 10019. 1958. 40 min. lAw.comments 16 mm. Instruments for folkLos songs. Angeles, California their own music, and Folksingerdemonstrates Jimmie the Driftwood 90017. The Jimmie Driftwood Series. 1959. uses his own homemade musical instruments to show how many Americans14 min. make use of the fiddle, the guitar, and an authentic mouth bow. color. Housing16 mm. Foundations, Inc. 1151 West 6th St., 23 Three American ballads.2223 Fulton St., Berkeley, California University of California at Berkeley, Ext. Media Center, Film Distribution, 94720. 1952. 7 min. color. 16 mm. design and song. Three American ballads - "Acre of Clams," "Ole Dan Tucker," and "John Henry" - are portrayed in graphic FILMSTRIP AND RECORD SETS FolkValhalla, songs Newof Africa.York The following filmstripTwo filmstrips and a 33 1/3 rpm record present the setting, the words, and the music of 18 African folk 10595. 78 fr. and record color.sets are available from Stanley Bowmar Company, Inc., 12 Cleveland St., 33 1/3 rpm record. Folk songs of California and the Old West.varioussongs. periods. Two filmstrips and 4 78 rpm records present the setting, the words, and the music of 19 folk songs from 97 fr. color. 4 78 rpm records. FolkFolk songs songs of of many Canada. people. Two filmstrips and a 33 1/3 rpm record present the setting, words, and music cf 12 Canadian folk songs. 59 fr. 74 fr. color. color. 33 1/3 rpm record. 33 1/3 rpm record. Folk songs of our Pacific neighbors. countries. Two filmstrips and 4a 7833 rnm1/3 recordsrpm record present present the thesetting, setting, words, words, and andmusic music of 18of folk12 folk songs songs from from S areas. 11 78 fr. color. 4 78 rpm records. LatinFolk songsAmerican of thefolk U. songs. S. A. Two filmstrips and a 33 1/3 rpm record 6463 fr. color.color. 3333 1/3 1/3 rpm rpm record. record.present the setting, words, and music of 14 American folk songs. of General Precision Equipment Corp., 1345countries. DiverseyThe Parkway, following TwoChicago, filmstripfilmstrips Ill. and and record a 33 1/3set rpmis availablerecord present from the Societysetting, for words, Visual and Education, music of 13Inc., folk Division songs from 7 60614. 24 Our heritage of American folk music. Each segment of the series presents the story and words of the most popular American folk songs of a Groupgiven 1period, often to the voiceSongs and of guitarthe cowboy.Civil accompaniment War. of noted folksinger Win Starcke. 50 fr. 50 fr. color. color. captions. Songs of the sea.plains.railroad.mountains. 50 fr. 50 fr. 50 fr. 50 fr. color. color. color, color. captions. captions. captions.captions. Group 2 Songs of thepioneer OldMississippiAmerican South.Mid-America. Revolution. Valley. 54 fr. 55 fr. 53 fr. 51 fr. color. color. color. record. record. record. 1964. 1964. 1964. The following record setsSongs are of availablethe WesternOld Southwest. from Frontier. the Educational 55 fr. 54 fr. color. color. color. record. record. record. 1964. 1964. 1964. Audio Visual, Inc. America's10570. favorite ballads. This set of 5 LPs and an anthology features folksinger 1RR 831 Set-5 LPs/book. Pete Seeger and such famous American ballads Pleasantville, New York as America's musical heritage. My"Down Trials." in the Valley,"On 6 "BalladLPs, Burl of Ivesthe Bollsings Weevil," over a hundred"Hole of America's GRR 136 Set-6 LPs/book. most famous songsin the and Bucket," ballads, "No including More Auction "Shenandoah," Block," and "All Archive of folk music. the"Sweet set. Betsy from Pike,"Folksingers and "The Pete Blue Seeger, Tail Leadbelly,Fly." Richard Dyer-Bennett, GRR 120 Set-5 LPs A 168-page, hardbound book containing the lyrics completes Woody Guthrie, ana Cisco Houston sing such The f'-'!k setfamous of 5folk LPs. songs as "Greensleeves," "The Willow 8RB 162 Set-4 LPs/book. Tree," "Worried Man Blues," and "Sourwood Mountain" in this Legendary folk sings. song notes and lyrics,FolksingersFour a LPsbibliography, featuring Woody Guthrie, America'sa discography, Leadbelly, greatest and Petefolk Seeger,artists Joanand Baez, GRR 137 Set-5 LPs. a 48-pagenumerous book with illustrations a comprehensive are includedintroduction, in this set. The Weavers, and others sing such American folk songs as "The Streets of Laredo," "John Hardy," and "Pick a Bale of Cotton" in this set of 5 LPs. 25 Treasury of the Golden West. are presented on 6 long-playingThe folk songs, records. fun songs, country music, Western 8RR 180 Set-6 LPs. ballads, and popular songs from the Gold Rush days LPs of Individual Singing Folk Songs RECORDS Singers Baez,Armstrong, Joan. George and Gerry. rSings Simple Vanguard. gifts; VRS-9078/VSD-2077.Anglo.-American folksongs. 1960. Folkways. FA 2335. 1961. . Joan Baez inSings concert. folksongs6. folksongs. Vol. 2. Vanguard. Vanguard. VRS-9094/VSD-2097. . Joan Baez in concert. Part 2. Vanguard. VRS-9112/VSD-2122. VRS-9113/VSD-2123. 1962. 1963. Belafonte,Barker, Horton. Harry, andLPM the 2022. 1960. Traditional singer. Belafonte Folk Singers. Folkways. FA 2376. rnV Lord what a mornin'. 1960. (Negro Soirituals). RCA Victor. Bibb,Belafonte, Leon. Harry, withRCA Odetta, Victor. Folk songs. LOC 6007. Vanguard.(2 12" records). Miriam Makeba, and the Chad VRS-9041/VSD-2012. 1960. 1959. Mitchell Trio. Belafonte returns to Carnegie Hall. Bikel, Theodore. . Tol' my captain. A folksinger's choice. (Chain gang and work songs). Vanguard. VRS-9058. 1960. . From bondage to freedom. Elektra. EKL-200.Elektra. EKL- 250 /EKS -7250. . & Geula Gill. A harvest of Israeli Folk songs from just songs. Elektra. about everywhere. EKL-210/EKS-7210. Elektra. EKL-161/EKS-7161. 1959. Blues with Big26 Bill Broonzy, Sonny Terry, and Brownie Magee Folkways. FS 3817. Broonzy, Big Bill. Big Bill's blues. Columbia. WL 111. 1958. . Country blues. Folkways. FA 2326. . His story. (An interview with Studs Terkel). . Sings folk songs. Folkways. FA 2328. Folkways. FG 3586. Carawan, Guy. . The best of Guy Carawan. Prestige International. PR 13013. . SongsGuy Carawanwith Guy sings. Carawan. Folkways. Folkways. FG 3548. FG 3544. . This little light of mine. Folkways. FG 3552. Cotton,Cleveland, Elizabeth. Sara. 3526. Ballads and songs of the(Libba Upper Cotton, Hudson composerValley. of "Freight Train"). Folk Legacy.Negro folk songs and tunes. FSA 33. Folkways. PC. Davis,Dane, BlindBarbara. Gary. 1958. When I was a young girl. American street songs. Horizon Records. Riverside. RLP-611. WP-1602. . HaveHarlem a littlestreet faith.singer. Prestige (Bluesville).PRPrestige (Bluesville). 1032. PR 1012. Heller, Alfred. . Pure religion. The three ravens. Prestige (Folklore). (English folk songs). PR 14028. Vanguard. VRS-479. WraggleWesternVaughan wind.taggle Williams gypsies. folk song album. Vanguard. Vanguard. VRS-1031. Vanguard.VRS-1001. VRS-1055/VSD-2058. 27 Driftwood, Jimmy. Festival at Carnegie Hall. United Artists. NewlyJimmy discoveredDriftwood andearly the American wilderness folksongs. road. RCA Victor. RCA Victor. LPM-1994. LPM-1635.3128/6128. 1959. 1958. Dyer -Bennet, Richard. Tel tales in song. RCA Victor. LPM 2228. RD-8 1. 1960. Songs. Dyer-Bennet.Dyer-Bennet. Songs. DYBDYB 3000. 2000. Dyer-Bennet. 1956. 1955. Songs. Dyer-Bennet. DYBRD-B 5000.4. 1957. Flinn, Ron. LadinoSongs. GoldenDyer-Bennet.(Jewish songs). songs of Israel. Prestige International. Prestige International. PR 13069. PR 13063. Elliott, Jack. New sounds of Israel. Sings the songs of Woody Guthrie. Prestige International. Prestige International. PR 13054. PR 13016. 1961. English, Logan. . Woody Guthrie songbag. American folk ballads. 20th Century Fox. Monitor. 3126. MF 388/S 388. 1964. 1962. Fuller,Ferguson, Jesse. Hank. The Zone cat. (WorkBehind these walls. songs, blues, spirituals).Folk-Legacy Records. FSA-13. Good Time Jazz Records. M-12039/5-10039. Gibson, Bob. . San Francisco Bay blues. Carnegie concert. Prestige International.Riverside. RLP 12-816. PR 14006. 28 I come for to sing. Riverside. RLP 12-806. . Offbeat folk songs. Riverside. RLP 12-8062. . There's a meetin' here tonight. Riverside. RLP-830. 1959. Gooding, Cynthia. . Turkish,Where I'm Spariah, bound. and Mexican folksongs. Turkish and Spanish folksongs. Elektra. EKL-239/EKS-7239. Elektra. EKL-6. Greenway, John. The great American bum. American industrial folksongs. (Hobo and migratory worker's songs). Elektra.Riverside. EKL-128. RLP 12-607. Riverside. RLP 12-619. Guthrie, Woody. 2 and Cisco Houston. Talking Dust Bowl. Folk songs. Folkways.Vol. 1. Stinson. FA 2011/FP 11. SLP 44. Hammond, John. . Lonesome valley. John Hammond. Folkways. Vanguard. FA 2010. VRS-9132/VSD-2148. 1963. Hopkins, Lightnin'. Country blues. AutobiographyTradition. in blues. TLP-1035. 1959. Tradition. TLP-1040. 1960. . Hootin'Greatest thehits. blues. Prestige. (Bluesville). PR 1084. . Malkin' this street by myself. Prestige (Folklore). Prestige (Bluesville). PR 14021. PR 1057. Houston, Cisco. . The Cisco special. Folk Songs. Folkways. FA 2346. 1958. . Songs of the open road. Vanguard. Folkways. VRS-9057/VSD-2042. FA 2480. 1960. . Sings songs of Woodie Guthrie. Vanguard. VRS-9089. 29 Hurd, Peter. Sings ranchera songs. Hurt, Mississippi John. Mississippi John Burt's day. Folk songs and blues. Vanguard. (Spanish texts with English VSD 79220. Piedmont Records. translation). 13157. Folkways. FA 2204/FP 604. 1957. Ives, Burl. . Songs of the colonies. Encyclopaedia Britannica Films. EBF. Album I. . Songs of the revolution. Encyclopaedia Britannica Films. EBF. Album II. . Songs of north and south. Encyclopaedia Britannica Films. EBF. Album III. . Songs of the sea. Encyclopaedia Britannica Films. EBF. Album IV. . Songs of the frontier. Encyclopaedia Britannica Films. EBF. Album V. . Songs of expanding America. Encyclopaedia Britannica Films. EBF. Album VI, . Ballads and folk songs. Vol. 1. Decca. DL 5080. 1949. . Ballads, folk, and country Vol. 2. songs. Decca. Vol. 3. DL 5013. Decca. DL1949. 5093. 1949. . . Down to the sea in ships. Decca. DL 8245. . Men.In the quiet of the night. Decca. DL 8125. Decca. DL 8247. Jefferson, Blind Lemon. . The wayfaring stranger. Classic folk-blues. Columbia. CL 628. Riverside. RLP 12-125. Leadbelly (Huddie Ledbetter). . Folk blues. Riverside. Riv. 1014. . Lead Belly's last sessions. Lead Belly's last sessions. Vol. 2. Folkways. FA 2942/FP 242. Vol. 1. Folkways. FA 2941/FP 241. 30 . Leadbelly's legacy. Vol. 3. Folkways. FA 2024/FP 24. . Take this hammer. Folkways. FA 2004/FP 4. 1950. Lomax,Lipscomb, John Mance. A., Jr. Trouble in mind. Sings American folksongs. Reprise Records. Folkways. R-2012. FG 3508. . MacColl, Ewan . The best of Ewan :.lacColl Prestige International. PR 13004. . ScotsBritish folk industrial songs. folk songs. Riverside. RLPStinson. 12-609. SLP 79. McGhee,Makeba, Brownie.Miriam. and Peggy Seeger Voice of Africa. Matching songs of the British Isles and America. RCA Victor. LPM-2845. 1964. Riverside. RLP 12-637. . Traditional blues. Traditional blues. Vol. 2. Folkways. Vol. 1. FA 2422. Folkways. FA 2421. Marais, Josef and Miranda. . and Sonny Terry. Blues aZZ around my head. African suite and Songs of spirit and humor. Prestige (Bluesville). Decca.PR 1020. DL 9047. . Ballads of long ago. Columbia Masterworks. ML 4894. . Marais and Miranda in person. Decca. Decca. DL 9026. DL 9027. 1955. 1955 Mills, Alan. . Sundown songs. 0, Canada: Decca. DL 8711. a history of Canada in folk songs. 1958. Folkways. FW 3001. 1956. Niles, John Jacob. . American folk and gambling songs. RCA Camden. CAL-219. . AnAmerican evening folk with songs. John Jacob Niles. RCA Camden. Tradition.CAL-245. TLP-1036. 1959. 31 . I wonder as I wander. Tradition. TLP-1023. 1957. Ochs, Phil. . Sings folk songs. All the news that's Folkways. fit to sing. FA 2373. Elektra. EKL-269/EKS-7269. Odetta. . At Carnegie Hall. Vanguard. VRS-9076/VSD-2072. 1960. . FolkAt Townsongs. HaZZ. Vanguard. VRS-9103/VSD-2109. 1961. . My eyes have seen.RCA Victor. LPM 2643/LSP 2643. 1963. . One grain of sand. Vanguard.Vanguard. VRS-9137/VSD-2153.VRS-9059/VSD-2046. 1963. Redpath,Proffitt,Older, Lawrence.Jean. Frank. FrankAdirondack Proffitt sings songs, ballads, and fiddle tunes. folk songs. Folkways. FA 2360. Folk-Legacy Records. 1961. FSA-15. 1964. . Songs of love, lilt, and Scottish ballad book. Elektra. EKL 214. . Walk barefoot through the Laughter.heather. PrestigeElektra. International. EKL 224. PR. 13041. Ritchie, Jean. . The best of Jean Ritchie. Prestige International. PR 13003. 1960. . Kentucky mountain songs. (dulcimer). Elektra. EKL-25. . Kentucky mountain songs. (dulcimer and guitar). Elektra. EKL-125. . Precious memories. (Folk and country songs). Folkways. FA 2427. . SaturdayThe Ritchie night family and Sunday of Kentucky. too. Folkways. FA 2316. 1958. . Singing family of the Cumberlands. Riverside. Riverside. RLP 12-620. RLP 12-653. 32 . Traditional songs of her Kentucky mountain family. Elektra. EKLP-2. 1952. Rubin, Ruth. , and Doc Watson. Jewish folk songs. Jean Ritchie and Doc Watson at Folk City. Oriole Records. Vol. III. 1954. Folkways. FA 2426. Sandburg, Carl. . Ruth Rubin sings Yiddish folk songs. Prestige International. PR 13019. . Flat rock ballads. Columbia. The American songbag. ML 5339. Lyrichord. 1959. LL 4. Schlamme, Martha. . The great Carl Sandburg: Folk songs of many lands. ballads and songs. Vanguard. Lyrichord. VRS-9019. LL 66. Seeger, Peggy.Mike. . German folk songs. Old time Thecountry best music.of Peggy Seeger. Folkways. FP/ 6843/FP 843. Folkways. FA 2325. 1954. . Peggy Seeger sings and plays American folksongs Prestige International. for banjo. Folk-Lyric. PR 13005. FL-114. Seeger, Pete. . Barbara, and Penny. American favorite ballads. American folk songs for Christmas. 5 vols. Folkways. Folkways.Vol. 1 - FA 2320. FC 7053. (1957); Vol. 2 - FA 2321. (1958); .Vol. 3 American history in ballad and - FA 2322. (1960); Vol. 4 song. Folkways.- FA 2323; Vol. 5 - FA 2445. FH 5801. . TheAmerican bitter industrial and the sweet. ballads. Folkways. FH 5251. . Champlain Valley songs. Folkways. Columbia. FH 5210. CL-1916/CS-8716. 1962. . The 5-stringfolksinger's banjo guitar instructor. guide: anFolkways. instruction record. FI 8303. Folkways. F1 8354. 33 . Folk songs for young people. Folkways. FC 7532. 1960. . PeteGazette. Seeger at Carnegie Hall 2 vols. Folkways. with Sonny Terry.Vol. 1 - FN 2501; Vol. 2 Folkways. - FN 2502. FA 2412. 1958. . ThePete rainbow Seeger quest. at the Village Gate. 2 vols. Folkways. Vol. 1 - FA 2450; Vol. 2 - FA 2451. . We shall overcome. Columbia.Folkways. CLFA 2454.2101/CS-8901. 1960. Stekert,Sellers, Ellen. Brother John. Songs of a New York Blues and folksongs. lumberjack. Vanguard. Folkways. 1963. VRS-9036. FA 2354. VanStracke, Ronk, Dave. Win, (with the1958. Arthur Norman Chorus) Golden treasury of songs America sings. Golden Records. GLP:31. . In the tradition. Folksinger. Prestige International. PR 13056. 1963. . The genius of Dave VanPrestige Ronk. (Folklore). Prestige (Folklore). PR 14001. PR 14025. Watson, Doc. . Sings ballads, blues, and Doc Watson sings ballads a spiritual. and folksongs. Folkways. Vanguard. FS 5813. VRS-9152/VSD-79152.1959. White,West, Josh.Hedy. . Doc Watson and his family. Hedy West sings folksongs. Folkways. Vanguard. FA 2366. VRS-9124. 1962. 1963. . Chain gang Ballads and blues. songs. Elektra. Decca. EKL-158. DL 8665. 1958. . (with(with Al Sam Hall Gary and and Sonny Greer).Al Hall). Josh at midnight. Elektra. EKL-102. 34 Josh sings blues. Elektra. EKL-114. . . A Josh White program. London. Elektra. LL 1147/LPB-338. . 25thSpirituals anniversary and blues. album. Elektra. EKL-193/EKS-7193.EKL-123. Wood, Nally. American folksongs of sadness and melancholy. Collections and LPs of Groups Singing Folk Songs Elektra. EKL-10. 1953. AmericanAfro-American folk bluesspirituals, festival. work songs, and ballads. Decca. 4392/74392. 1964.Library of Congress Music Division. AAFS L3. American folk talessong festival.andTLPFolkways. songs. 1011. FA 2358. 1960. (Traditional performersTold by at Richard Ashland, Chase Kentucky, and sung under by Jeanthe directionRitchie and of PaulJean Clayton.Thomas). Tradition. AnthologyAnglo-American of American songs AAFSfolkand ballads.Lmusic: 21. ballads,Library Anglo-American.of Congress Music Division. Part 1. Folkways. AAFS L 12; AAFS L 14; AAFS L 20; and 1952. : Americansecular andballads. religious. Part 3. Part 2. Folkways. Folkways. FA 2953/FP 253. FA 2952/FP 252. 1952. 1952. FA 2951/FP 251. The ballad hunter: AAFS L 49 Part I.II. Cheyenne:Blues and hollers: lectures on American folk music with musical illustrationssongs from by theJohn range A. Lomax. and the hill country "Being Lonesome" songs 10 parts on 5 LPS. AAFS L 5150 Part V.IV.III. Sao sailors:Rock Island ChisamLine: trail: sea shanties and canal boat ballads cowboy songswoodcutters' along the famoussongs andold songscattle of trail prisons Part VI. Boll weevil: songs about the little bug that challenged King Cotton. 35 AAFS L 52 AAFS L 53 PartPart X. IX.VIII.VII. Sugerland, Texas: Jordan and jubilee:Spirituals:Railroad religion songs: through convict songs from a Texaswork songsprison for rail tampingsongs from Livingston, Alabama songs of the Southern Negroes and track laying. TheBeen Beershere andFamily. gone. Ramsey, Jr.) Folkways. (Music from the South, Vol. 10). FA 2659. 1960. Documentary Southern Negro Music ed. by Frederic The big folk hits. IntroducingDumbarton's drums.the Beers Family. (The Brothers Four). Columbia. ColumbiaCS 9472. Masterworks. Columbia. CL 2033/CS 8833. MS 6705. TheBlues blues at project:Newport. Dave Ray, and others). Vanguard.a compendium of the very best Elektra. VRS-9145/VSD-79145. EKL-264/EKS-7264. on the urban blues1963. scene. (John Koerner, Geoff Muldaur, CountryChicago music mob scene:and bluegrass at A folk song jam Newport. session. Vanguard. Riverside. VRS-9146/VSD-79146. RLP 12-641. 1963. ElektraCourtin's new afolk pleasure sampler. Elektra.and Foiksongs EKL-122. Elektra. from the Southern Appalachians.EKL-SMP-2. 1956. (Jean Ritchie, Oscar Brand, and Tom Paley). TheEvening fireside concerts treasury at Newport. of folk songs.2 vols. Golden Records.Vanguard. VRS-9148/VSD-79148; VRS-9149/VSD-79149. A 198:17. 1957. 1963. FolkFolk music music for festivals: peopleJudsonWestminster. who Records.hate WF 12009. J-3003. the international musical Eisteddfod folk music: Herb Strauss. (accompaniment(at byLlangollen, Mundell Lowe North and Wales, his friends). 1952). 2 vols. Folk songs of the frontier: 36 Roger Wagner Chorale. Capitol. P 8332. Folk music of Washingtonthe Newport Folk Festival, Z960. Square. Folkways. FA 2353. 2 vols. 1962. Folkways. FA 2431; FA 2432. Folksay:FolkFolksongs songs ofof thethe Miramichi volume I. new world. Folksong Festival. Roger Wagner Chorale. Folkways (Ethnic) FM 4053. Capitol. P 8324. Folksay: EricWhite, Darling). Blind Sonny volume II. Stinson. Terry,(Pete Seeger,(Leadbelly, Leadbelly, Woody Guthrie, SLP #6. Alex Stewart). Stinson.Cisco Houston, Bess Lomax, Cisco Houston, Blind SLP05. Sonny Terry, Bob Carey, Woody Guthrie, Baldwin Roger Sprung, Hawes, Josh Folksay: Stinson. volume III. SLP #9. (Woody Guthrie, Cisco Houston, Pete Seeger, Leadbelly, Blind Sonny Terry, Josh White) Folksay: Terry).SLP # 11. volumevolume V. IV.Stinson. SLP (Cisco#12. Houston,(Pete Pete Seeger, Woody Seeger,Guthrie, Woody Leadbelly, Guthrie, Cisco Hally Wood, Leadbelly, Frank Houston, Eric Lieberman). Warner Stinson. Sonny FolksongsFolksay: with the Folksmithe.Lieberman, Gary Davis, $ volume VI. (Tom Glazer, Pete Sonny Terry). Folkways. Seeger, Woody Guthrie,Stinson. CiscoFA 2407. SLP #13. Houston, Frank Warner, Leadbelly, Ernie Hootenanny tonight!at Carnegie Hall. (sponsored by Sing Out!). (sponsored by Sing Out! and Folkways. recorded liveFN 2511.in 1958-59). Folkways. FN 2512. TheJambalaya-LouisianaIrish Kingston folk Trio at folksongs.large. songs: the McNulty Family. (Harry Oster, ed.). Colonial. Col-LP-121. Louisiana Folklore Society. LFS 2. 1959. LithuanianThe Kingston folk Trio: songs in the here we go again! UnitedCapitol States. T 1199. Capitol T 1258. 1959. 1950. (Recorded by Dr. Jonas Balys). Folkways. FM 4009/P 1009. 37 1936- Negro folk music of Alabama. Vol.Vol. II.III. I. Secular FE Religious4417/P417. (recorded(ongs, by Haroldtales, Courlander).and sermonizing recorded by Harold Courlander). 6 vols. 1951. Ethnic Folkways Library. FE 4418/P 418. 1951. FE 4471/P 471 Negro religious songs and services. Vol. V.IV.VI. (recorded by(Work Harold(Sermons songs, Courlander and chain-gang spirituals songs, recorded and bygames Harold recorded Courlander). by Harold Courlander). Library of Congress MUsic Division. FE 4473/P 473. FE 4472.. P 472. FE 4474/P 474. TheNegro New workLost songsCity Ramblers.and calls. 5 vols.Library of Congress Music Division. Folkways. FA 2395; FA 2396; FA 2397; FA 2398; AAFS L 8. AAFS L 10. FA 2399. Newport broadside: . (Songs from the depression). topical songs. Folkways. FH 5264. Newport folk musicfestival, festival, 1960. 1959. 2 vols. 3Vanguard. vols. Vanguard. Vanguard. VRS-9144/VSD-79144. VRS-9083; VRS-9084. 1963. TheOff-beat original folk hootenanny.songs. (The Shanty Boys). 2 vols. Crestview. Elektra. (Elektra). EKL -142. VRS-9062/VSD-2054; VRS-9063/VSD-2055;CRV-806/CRS-7806; CRV-807/CRS-7807.1958. VRS-9064/VSD-2056. Our singing heritage. Vol. I.II.III. (Peggy Seeger,EKL-152. Paul(Songs Clayton, collected Pat and arranged by 3 vols. Elektra. Foster, & George Pegram).Frank Warner; banjo by Billy Faier). EKL-151. 1958. EKL-153. 1958. PromisedPhiladelphia Land: folk festival.Lyrichord. LL 64. a treasury of American folk music from all four 2 vols. Prestige International. PR 13071;corners PR 13072. of the land. 1963. (The Welch Chorale.) RiversideReunion at folksong Carnegie sampler. Hall,Galvin, 1963. Ed McCurdy, A. L. Lloyd, Obray (Bob Gibson, Paul Clayton, Margaret (The Weavers). Ramsey, Milt Okun, Oscar Brand, Eric Darling, Jean Ritchie, Vanguard. VRS-9130/VSD-2150. Barry, Ewan MacColl, John Greenway, Patrick Moser, Merrick38 Jarrett, & The Rev. Gary Davis). Riverside. S-2. 1956. Artus Run come hear. (The Folk Singers). Elektra. EKL-157. 1958. Shivaree!:A sampler of LouisianaEsoteric. folksongs. a new presentationES-538. of folk music. (Harry Oster, ed.) (Oscar Brand, Jean Ritchie, Harry and Jeanie West, & Tom Paley). Louisiana Folklore Society. LFS 1201. SongsS-Zng and out, ballads sweet land!of the anthracite miners. (Selections by the original cast). Library of Congress Music Division. Decca. DL 8023. AAFS L 16. SongsSongs of of the French Michigan Canada. AAFS4482.lumberjacks. L 56. 1957. (recorded by Laura Boulton, Samuel Gesser, Carmen Roy, and (from the Archive of Folk Song, ed. by E. C. Beck). M. Asch). Library of Congress. Folkways. FE SouthernSongs of folkthe Mormonssong heritage and Songs series. and ballads of the West.Vol. 1. (A series of field recordings by Alan Lomax...) Atlantic Records. Library of Congress Music Division. AAFS L 30. 1960. Vol.Vol. 5.4.3. 2. AmericanRootsBlueSoundsWhite ofRidge ofspirituals.thefolk the Mountainblues. songs South. for music. children. A-1349. A-1348. A-1346. A-1.547. A-1350. Southern journey. Vol. 7.6. NegroThe blueschurch roll music. on. (A series of field recordings by Alan Lomax). A-1352. A-1351. 12 vols. Prestige International. 1961. Vol. 1..5.4.3.2. DeepBanjoBalladsGeorgia South songs, Seaand - sacredballads,Islands.breakdowns and and sinful.from reels the from Southern the Southern mountains. mountains. (2)(1) Int-25002.Int-25001. Int-25005. Int-25003. Int-25004. Vol.Vol. 9.10. 8.7.6. AllYazooBadTheFolk day Easternman songs Deltasinging ballads. fromShores.blues from the Int-25009.and "TheInt-25008.Ozarks. spirituals. Sacred Harp". Int-25010. Int-25006. Int-25007. Vol. 12.11. HonorSouthern the Whiteiamb: spirituals. The Belleville A Capella Choir. Int-25011. Int-25012. 39 Spanish and Mexican folk music of New Mexico. (recorded by J. D. Robb). Spirituals.Spirituals. (Howard(Graham University Jackson Choir). Choir). Westminster. RCA Victor. WP 6048. LM 2126. 1957. Folkways. FE 4426/P426. TraditionSpirituals. folk sampler.Cameron, Ritchie and (Tuskegee Institute Choir). Clayton, Davies, Clayton,(McCurdy, Clancy Brothers Westminster. MacCoil, Ennis, & Odetta).and Makem, Baker, XWN 18080. Yarbrough, Hillel and Tradition. TSP 1. Aviva, Brand, TheThe Weave's unfortunate at Carnegie rake.FSby 3805.A. L. Lloyd, Ewan 1960. MacCoil,(A story Hally in theWood, evolution Harry Jackson, Alan of a ballad; 19 Lomax, Peteexamples Seeger, ofand the way a folk song develops, others). Folkways. sung TheThe Weavers Weavers at home. on tour. Vanguard.Vanguard. Bal. Vanguard. VRSVRS 9013. 9024. VRS 9010. 1958. 1957. WeThe shall Weavers traveling overcome: songs of the freedom riderson. and Vanguard. VRS 9043. 1959. sit-ins. Folkways. FH 5591. 1960. WorldWest festivalVirginia ofcentennial folkRecordings, Star Series 35. song. and folk dance.album of folk music. (Recordings from the West Virginia Archives). Folk Heritage Council, held in Biarritz and Pamplona, in SUPPLEMENTARY ITEMS 1953). (UNESCO). Westminster. - Not Reviewed(Second World Festival WF 12008. of the International Folk Music Ames,Abrahams, Russell. Roger, 81 The story of American Foss, George. Anglo-American folksong folk song. Grosset & Dunlap. style. Prentice Hall. 1960. 1968. Brand, Oscar. 40 The ballad mongers: the risa of the modern folk song. Funk & Wagnalls. 1962. Cazden, Norman, ed.Abelard Schuman. The1958. Abelard folk song hook: more than 101 ballads collected in the Catskills, New York. Glass,De Turk, Paul, David. & Singer,Grosset Louis, & eds.Dunlap. The American folk scene: 1967. Songs of forest and river folk: dimensions of the folksong revival. folk songs, ballads [and] historical Dell. 1967. songs. . Songs of hiZZ and mountain folk: songs. . Songs of town and city folk: folk songs, composed songs, [and] ballads.ballads, historical songs, [and] folk Grosset & Dunlap. Grosset & Dunlap. 1967. 1967. Greenway,Kyagambiddwa, John. Joseph. American folksongs of protest. African music from the source of the NiZe. Philadelphia. Univ. of Pennsylvania Press.New York. Praeger. 1955. 1953. Leisy,Landeck, J. F.,Beatrice. ed. The folk songEchoes abecedary. of Africa in folk songs of the Americas. New York. Hawthorn Books. New York. 1966. D. McKay Co. 1961. Luboff,Lomax, NormanAlan, ed.& Stracke,movement Win, of eds. the 1930's. Hard hitting songs for hard-hit people: Oak. 1967. Songs of man: the international book of folk American folk songs of the Depression and the labor songs. Myrus,Marais, Donald, Josef, ed. ed. Ballads,World folk blues, songs. and the big beat. Ballantine Books. Macmillan. 1964. 1966. Prentice-Hall. 1965. Scott,Raim, J.Walter, A. ed. 1967. The ballad of America: The Josh White song book. the history of the United States in Chicago. Quadrangle Books. song and story.1963. Grosset & Dunlap. Silber,Shirley, Irwin, Kay, ed.ed. The book ofSongs the blues.of the great American West. New York. Leeds MusicMacmillan. Corp. 1967. 1963. MUSICAL COMPOSITIONS APPENDIX OR INCLUDING FOLK SONGS Ballet BASED ON OpusBillyAppalachian Americana the Kid. Spring. No. 2. (1938) - Aaron Copland. (1944) - Aaron Copland. SourwoodRodeo. Mountain. (1942) - Aaron Copland. (An "American frolic" in 1 (A ballet suite) - Darius Milhaud. WesternSquare Dance.Symphony. (1957) (1964) - Hershy Kay, arranger. act) - Pierson Underwood and Lawrence Perry. TheDown Green in Pastures.the Valley. (1947) - Kurt Weill. Drama, Musicals, and Opera TheJohn LandHenry. of Cotton. (1931) - Roark Bradford. (1941)(1930) - Randolph- Marc Connelly. Edmonds. ThePorgyOklahoma Secret. and Bess. (1943) -(1878) Richard - BedrichRodgers Smetanaand (1935) - George Gershwin. Oscar Hammerstein. Singin' Billy. 42 (1952) - Charles Faulkner Bryan. a SMokySing Out,Mountain. Sweet Land! (1954) - Eusebia Simpson Hunkins. (1944) - Music composed and arranged by Elie Siegmeister. The Tender Land. (1954) - Aaron Copland. Symphonic Music ArkansasAppalachia,Afro-American Traveler. Variations Symphony. on an Old Slave Song. (1955) - Marcel G. Frank. (1930) - William Grant Still. (1905) - Frederick Delius. CumberlandCantataBirmingham Prcfana: Concerto.Suite. for soli, chorus,(1953) and - Charlesorchestra. F. Bryan. (1951) - Roy Harris. (1930) - Bela Bart6k. FromFestivalDarker the America. BlackOverture, Belt. "1812". (1924) (1926) - William Grant- Still.William Grant Still. (1880) - Peter Ilich Tchaikovsky. JollnFromIndian theHenry. Suite,Sacred (1940) OpusHarp. -48. Aaron Copland. (1946) - Tom(1896) Scott. - Edward MacDowell. 4 LogLegendJohn Cabin Henry of Ballads.the Suite. Arkansas Traveler. (1927) - William Grant Still. - Wesley Gragson. (1946) - Harl McDonald. Marche Slay. (1876) - Peter Ilich Tchaikovsky. 43 Ozark Set: for orchestra. (1943) - Elie Siegmeister. Spirituals:SagaRhapsodie of the Nbgre. Prairies. for string and orchestra. (1919) - John Powell. (1937) - Aaron Copland. (1942) - Morton Gould. SymphonySuite in SouthernNo.in e2, minor, c Mountains.minor, Opus "Little 95, "From RUssian." the New World." (1928) - Lamar Stringfield. (1873) - Peter Ilich Tchaikovsky. (1893) - Anton Dvorgk. TheSymphonyVillage Village: No.Street. 4 (Folk Song): for 4 voices and a chamber orchestra.(1942) - Douglas Moore. for chorus and orchestra. (1917) - 1161a Bart6k. (1939) - Roy Harris. WhiteVlatavaVirginia Spiritual (The Symphony. Moldau). Symphony. (1937) - John Powell. (1875) - Bediich Smetana. (1952) - Charles F, Bryan. WisconsinTheWilderness Winter's Suite. Road:Passed. for(1954) orchestra. - Otto Luening. (1940) - Wayne Barlow. (1945) - Elie Siegmeister. 44