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Learning Lineage and the Problem of Authenticity in Ozark Folk Music

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Learning Lineage and the Problem of Authenticity in Ozark Folk Music University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 1-1-2020 Learning Lineage And The Problem Of Authenticity In Ozark Folk Music Kevin Lyle Tharp Follow this and additional works at: https://egrove.olemiss.edu/etd Recommended Citation Tharp, Kevin Lyle, "Learning Lineage And The Problem Of Authenticity In Ozark Folk Music" (2020). Electronic Theses and Dissertations. 1829. https://egrove.olemiss.edu/etd/1829 This Dissertation is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. LEARNING LINEAGE AND THE PROBLEM OF AUTHENTICITY IN OZARK FOLK MUSIC A Dissertation presented in partial fulfillment of requirements for the degree of Doctor of Philosophy in the Department of Music The University of Mississippi by KEVIN L. THARP May 2020 Copyright Kevin L. Tharp 2020 ALL RIGHTS RESERVED ABSTRACT Thorough examination of the existing research and the content of ballad and folk song collections reveals a lack of information regarding the methods by which folk musicians learn the music they perform. The centuries-old practice of folk song and ballad performance is well- documented. Many Child ballads and other folk songs have been passed down through the generations. Oral tradition is the principal method of transmission in Ozark folk music. The variants this method produces are considered evidence of authenticity. Although alteration is a distinguishing characteristic of songs passed down in the oral tradition, many ballad variants have persisted in the folk record for great lengths of time without being altered beyond recognition. This fact reveals the existence of a formidable teaching and learning method that deserves extensive investigation. This research represents a deeper understanding of how folk musicians learn the music they perform. It includes information about methods of folk music teaching and learning not previously recorded in the extant research. Informants’ statements about their personal learning experiences can be connected to widely accepted theories of learning. These connections are some of the most important findings reported in this research. In addition, this research provides an exploration of folk musicians’ beliefs about the roles of family lineage, places of birth, and methods of transmission in authentic folk music performance. This work contains evidence of a fundamental change in what folk musicians consider authentic methods of transmission. The ii exploration of authenticity, the effects of technology on folk music learning, and oral transmission provided here is a step forward in the study of Ozark folk music. Keywords: Authenticity, British Ballads, Folklore, Informal Learning, Music Education, Oral Transmission, Ozark Folk Music iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude for the guidance Dr. Alan Spurgeon provided during this educational journey. His kind remarks, astute observations, prudent suggestions, and friendship have eased the burden of an otherwise arduous task. I would also like to thank Dr. Michael Worthy, Dr. Jos Milton, and Mr. Kevin Herrera for their attention to detail. Their unwavering pursuit of musicianship and knowledge is truly honorable. These are qualities of all the University of Mississippi Music Department professors with whom I studied. This dissertation would have been impossible without the participation of Mary Gillihan, Brooke Tidwell, Kay Thomas, Kathy Sutterfield, Lyle Sparkman, Martha Estes, Jeanie Miller, and Kyla Cross. The information and musical examples they provided are invaluable. I would also like to thank the Shiloh Museum of Ozark History in Springdale, Arkansas, and the Ozark Folk Center State Park in Mountain View, Arkansas. I would like to express a special word of thanks to my wife, Holly, who has encouraged me in every endeavor. I especially appreciate my family and friends for believing in me. Their support is a constant reminder of the privilege I enjoy. iv TABLE OF CONTENTS ABSTRACT ..................................................................................................................................ii ACKNOWLEDGEMENTS ........................................................................................................iv CHAPTER I: INTRODUCTION ................................................................................................1 Statement of Purpose ..........................................................................................................5 Methodology .......................................................................................................................6 Delimitations .......................................................................................................................7 CHAPTER II: RELATED LITERATURE ...............................................................................10 English and Scottish Popular Ballads ................................................................................10 Transmission...................................................................................................................... 14 Ballad Identification ..........................................................................................................16 Collections .........................................................................................................................19 Music Education as Folk Tradition ...................................................................................22 Informal Learning.............................................................................................................. 26 Music and Memory ...........................................................................................................32 Prior Experience and Memory ..........................................................................................37 The Task of Memorization ................................................................................................44 Implications and Future Research .....................................................................................46 v CHAPTER III: IN THE HILLS OF ARKANSAS ...................................................................48 Ballad and Folk Song Collecting in the Arkansas Ozarks .................................................48 Method ...............................................................................................................................51 CHAPTER IV: LINEAGE AND TRANSMISSION ................................................................61 Backgrounds ......................................................................................................................61 Beliefs ................................................................................................................................71 CHAPTER V: LEARNING OZARK FOLK MUSIC ..............................................................91 Memory .............................................................................................................................91 Informal Learning.............................................................................................................. 98 CHAPTER VI: CONCLUSION ...............................................................................................107 BIBLIOGRAPHY ......................................................................................................................115 APPENDIX .................................................................................................................................124 VITA ............................................................................................................................................243 vi CHAPTER I: INTRODUCTION A folksong is a song that lives in people. One singer teaches it to another without benefit of sheet music, or printed words, or records. In fact, publication of a folksong tends to imprison it. But, the real test of a folksong is oral transmission. It’s taught by singing and learned by hearing—from generation to generation. -Mary Celestia Parler1 A great number of ballads and American folksongs remain in the contemporary folk repertoire. The folk record contains an inexhaustible wealth of music that in some cases remains nearly identical to its earliest known versions. Some ballads and folksongs are severely degraded while others persevere through the variants they precipitate. Francis James Child collected and compiled over 300 ballads of English and Scottish origin along with many American variants. The original 10 volumes of Child ballads were published between 1882 and 1898.2 While the work of Child represents a literary approach to documenting the English and Scottish ballads, Bertrand Harris Bronson’s work includes over 2,000 pages of ballad tunes and texts. Bronson (among others) published an abundance of variants for each of Child’s ballads.3 In the early 20th 1 The Search for Yokum Creek, Mary Celestia Parler, produced by CBS/The University of Arkansas, aired 1954, on CBS, accessed February 16, 2019, Periscope Film, https://youtu.be/ 0JX5vQFDln4 2 Child, Francis James, ed., English and Scottish Popular Ballads, ed. Helen Child Sargent, and George Lyman Kittredge (Cambridge, MA: Houghton Mifflin Co., 1932). 3 Bronson, Bertrand Harris, The Traditional Tunes
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