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Crutchfield, Rory (2012) 'I Saw America Changed Through Music': an Examination of the American Collecting Tradition

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Crutchfield, Rory (2012) 'I Saw America Changed Through Music': an Examination of the American Collecting Tradition Crutchfield, Rory (2012) 'I saw America changed through music': an examination of the American collecting tradition. PhD thesis. http://theses.gla.ac.uk/3392/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] ‘I Saw America Changed Through Music’: An Examination of the American Collecting Tradition Rory Crutchfield M.A. (Hons), M.Sc. Submitted in fulfilment of the requirements for the Degree of PhD Humanities Advanced Technology and Information Institute/Music Subject Area School of Humanities University of Glasgow May 2012 © Rory Crutchfield 2012 ii Abstract This thesis is concerned with the history of folk music collecting in America and seeks to demonstrate the overriding importance of the political, socio – cultural, intellectual, and technological contexts on this work of folk music collecting. It does so via an examination the work of five of the principal folk music collectors in America in the 19th and 20th centuries: Francis Child, Cecil Sharp, John Lomax, Alan Lomax, and Harry Smith, arguing that the work of each of them was impacted by various contexts which were central to their theories of folk music, their collecting methodologies, and what they did with the material they collected. Each of these collectors, whose work was governed by the context in which they were working, introduced transformations in the theory, practice, and output of folk music collecting. These transformations are held to represent the American collecting tradition, and are in fact what define the American collecting tradition and allow it to continue developing as a discipline from the eighteenth to the twentieth centuries. iii Table of Contents Abstract ii Acknowledgements vi Chapter 1: Introduction 1.1: Introduction 1 1.2: Thesis Argument 9 1.3: Thesis Structure 23 1.4: European Collecting Precedents 25 1.5: American Folk Revivalists 28 1.6: Important Concepts 31 Chapter 2: Defining Folk Music 2.1: Introduction 43 2.2: Class Interactions and ‘Country’ Interests 43 2.3: Herder and the Origins of ‘Folk Music’ 50 2.4: The Grimms, Romantic Nationalism, and Kinder und Hausmärchen 60 2.5: Thomas Percy’s Upper – Class Folk Music 64 2.6: William Motherwell’s Impact on Child and the American Collectors 67 2.7: Child’s Ballad History and the ‘Popular Ballad’ 71 2.8: Sharp’s Development of Ballad History 82 2.9: John and Alan Lomax: The Discovery of Indigenous Folk Music 88 2.10: Smith and the American Folk Music as Avant - Garde 103 2.11: Definitions of Folk Music and the American Collecting Tradition 109 iv Chapter 3: Methodologies and the Collecting Tradition 3.1: Introduction 110 3.2: Subjective Notions of Collecting 110 3.3: Building a Collection 114 3.4: What Makes a Folk Collector? 117 3.5: Can a Collection be Culturally Representative? 119 3.6: Can Collecting Misrepresent Culture? 122 3.7: Collecting Objects or Facts? 126 3.8: John Lomax’s Singing Cowboy 129 3.9: Smith’s Record Culture 132 3.10: The Collecting Tradition 134 3.11: Brothers Grimm and ‘Scientific Method’ 136 3.12: Literary Collecting to Musical Collecting 141 3.13: Developments of the Lomaxes 146 3.14: Smith and the Collecting Tradition 151 3.15: Collecting Techniques in the American Tradition 154 Chapter 4: Folk Song Collections 4.1: Introduction 156 4.2: Herder’s Volkslieder: Setting the Standard 156 4.3: Kinder und Hausmärchen and the Science of Folklore 161 4.4: The Aims of Folk Song Collections 165 4.5: Popular and Scholarly Collections 169 4.6: Literary Conventions in Recorded Collections 171 4.7: Representation in Folk Song Collections 173 4.8: The Issue of Editing and Selection 178 4.9: What Makes a Successful Collection? 181 4.10: The Success of Sharp’s English Folk Songs 185 4.11: The Collections of the Lomaxes 188 4.12: The Success of Smith’s Anthology 191 v 4.13: Arrangement and Presentation of the Collections 197 4.14: The Appearance of the Collection 202 4.15: Collection Conventions in the American Tradition 208 Chapter 5: The Importance of the American Collecting Tradition 5.1: Introduction 211 5.2: Analyses of Influence in Collecting 212 5.3: Why Intellectual Context is Important in Collecting 213 5.4: Political and Historical Context in Collecting 220 5.5: The Importance of Technological Context 225 5.6: How Collectors Have Influenced the Public 229 5.7: The Folk Revival 235 5.8: Conclusion 245 Bibliography 257 Selected Discography 266 vi Acknowledgments First and foremost I would like to thank my supervisors, Michael Moss and Martin Cloonan, whose supervision gave me the confidence to pursue this research, and whose input allowed this thesis to take shape. I would also like to thank the staff at the Humanities Advanced Technology and Information Institute at the University of Glasgow, who have been extremely helpful during my research and writing of this thesis. In particular Elaine Wilson has provided a great deal of assistance with funding applications, teaching experience, and postgraduate orientation, which has been invaluable helping me make the most of my time as a student. I would like to thank the staff of the English Folk Dance and Song Society at Cecil Sharp House for helping with my research, particularly Malcolm Taylor for his guidance regarding the most useful sources in the library. Also, I must thank the staff at the Kluge Centre, and the American Folklife Centre, at the Library of Congress for the opportunity to study at the world’s leading research library and to consult sources unavailable anywhere else. Special thanks must go to Mary – Lou Reker at the Kluge Centre for her support during my research, and to Todd Harvey at the American Folklife Centre for his help navigating the voluminous Alan Lomax collection. I would like to thank the staff at Smithsonian Folkways Records and the Smithsonian Folklife Centre for allowing me to research their extensive recording archive, and I owe a great deal to Folklife archivist Jeff Place for so many helpful discussions and for taking time out of his working day to help me find recordings, performance footage, and panel discussions involving some of the key figures in American Folk Music. Finally, I would like to thank my friends and family, most importantly my parents and brother, without whom I would never have been able to do this. 1 Chapter 1: Introduction to the American Collecting Tradition 1.1: Introduction This thesis will examine the history of folk music collecting in America, focusing on the work of five collectors: Francis Child (1825 – 1896), Cecil Sharp (1859 – 1924), John Lomax (1867 – 1948), Alan Lomax (1915 – 2002), and Harry Smith (1923 – 1991). The period of collecting work explored herein effectively begins with the publication of Child’s first collection English and Scottish Ballads in eight volumes between 1857 and 1858. This period ends with the commercial release of Smith’s collection Anthology of American Folk Music in 1952. However, much of the discussion will also feature important figures in the history of folk music whose work falls outside the 1850s – 1950s period. This study is a significant development in the continuing discussion of the work of those who collect folk music in America. It is one of the few examinations of folk music collectors which aims to bring together the most important contributors to the practice and scrutinise their work in detail. It is also one of the only discussions of collecting in America which argues that this tradition was characterised by a series of transformations in the beliefs, methodologies, and output of the collectors, all of which was determined by the social, cultural, political, and technological context in which they were working. Much of the thesis builds on the work of the most important contributors to the study of folk music history in America, such as Robert Cantwell and Roger D Abrahams. In addition, it uses the work of some of the most important commentators on modern European and American history, including Isaiah Berlin, T.J. Jackson Lears, and Peter Burke, to bring into the discussion influential cultural movements like Romanticism and Antimodernism. These cultural history sources are brought together in an examination of the American collecting tradition which marks an important move forward in the study of the cultural arbiters who helped to define American folk music in the twentieth – century. The essential points of this thesis are: Each of the five collectors studied in this thesis introduced important new developments to the American collecting tradition. These included substantial 2 changes in their understanding and public presentation of folk music, methods of collecting, and ultimately the collections they produced. The American collecting tradition is defined by this series of transformations, which have enabled it to develop from a field of study based on textual scholarship, to an ethnographic practice tied in with fieldwork, sound recording, and eventually filmmaking. Ultimately, the transformations that define the American collecting tradition have been brought about by the changing context in which the collectors were working. Each of the five collectors studied in this thesis was heavily influenced by social, cultural, political, and technological factors of the period in which they worked, and these factors will be articulated and discussed throughout this thesis.
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