DOCSLIB.ORG

A Checklist of Child Ballad Variants Found in Southern Appalachia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Checklist of Child Ballad Variants Found in Southern Appalachia A CHECKLIST OF CHILD BALLAD VARIANTS FOUND IN SOUTHERN APPALACHIA Thomas Burton and Ambrose Manning The following checklist—drawn from a considerable number of major published and unpublished sources, as well as selected minor ones—is a representative inventory of variants of Child ballads found in Southern Appalachia. It does not propose to be a definitive list. Nor does it overcome all the inherent limitations and problems confronting such an inventory; for example the difficulty in delineating “Southern Appalachia” (considered here as basically, but not exclusively, that area prescribed by the Appalachian Regional Commission) and the inability to consult the almost inexhaustible number of sources. We also had to accept such realities as the following: some sources include only one variant of a ballad, whereas other sources include representative variants of all the ones collected; collections sometimes designate, sometimes not, the specific place where a variant was recorded or from whom, but not necessarily where it was learned originally or other critical details of dissemination; some informants are included in multiple collections, and their songs are easily tallied, mistakenly, more than once; duplications can occur through the circumstance of multiple collectors recording from different members of the same family or from different persons who learned the same specific matrix; a collector may include the same variants in multiple collections without specifying whether they have been previously published; the credibility of variants can be dubious relative to a number of factors, including editorial policy; and fragments, summaries, written copies, oral traditional status, authenticity of sources, as well as other matters pose questions that are sometimes unfathomable and ultimately subjective. Consequently, in any given collection we might for any number of reasons include all or some of the variants of one ballad and none of another. We have attempted to use sound, consistent judgment in the inventory. We are aware, however, that if we were to begin anew, we might modify the criteria for inclusions. Nevertheless, even with the limitations and inherent problems of the compilation, we feel that the checklist is a reliable guide to the number of Child ballad variants found in Southern Appalachia. ______________ Originally published in the Tennessee Folklore Society Bulletin 58, no. 3 (1997): 102. Copyright © 1997 by the Tennessee Folklore Society. Burton-Manning Checklist of Child Ballads in Southern Appalachia (Original Spreadsheet Produced by Anna Lee Gibson) James Taylor Adams Taylor James Anderson Geneva Anderson II Geneva Ballad & Folk Music Collection Arnold Byron Burton/ Manning Frank C. Brown Raymond Burgin Michael Bush Celestin Cambiaine Isabel Gordon Carter Richard Chase Josiah Combs John H. Cox John H. Cox II Arthur Davis Arthur Davis (AKDII) Katherine Jackson French Patrick Gainer Mildred Eunice Haun Collection Mildred Haun Cocke Co. Ballads Emory Hamilton Mellinger Henry Matteson & Henry Dorothy Horne Maud Karpeles Powell McClure Collection Talitha Edwin Kirkland K. Mc Neil (WKM) W. K. Mc Neil (WKMII) W. Alton Morris John Jacob Niles Reine Ballad Collection Watt James Randolph Vance Jean Rithchie Jean Rithchie II Roberts Vanover Beth Roberts Collection Ward Leonard Leonard Roberts Art Rosenbaum Dorothy Scarborough Smith Ballad John F. Herbet Shellans Sutherland T. J. H. Warner Anne & Frank Williams Cratis Child Ballad Title English Scottish English Scottish Variants JTA GA GAII BFMC BA B&M FCB RB B CC IGC RC JHC JC JCII AKD AKDII KJF PG MEH MEHII ELH MH MHII DH CS&K TPM K WKM WKMII AM JJN JWR VR JR JRII BR LWR LR AR DS JFS HS JHTS FW CDW Ballad Variants Variants No. Riddles Wisely 1 Expounded x 8 8 1 1 2 1 1 1 1 2 The Elfin Knight x 15 15 2 1 1 2 1 1 2 3 1 1 False Knight Upon 3 the Road x 10 10 1 1 1 1 2 1 1 1 1 Lady Isabel & the 4 Elf-Knight x 63 63 1 1 2 7 1 1 2 9 4 3 2 1 5 2 10 1 1 1 3 1 1 2 1 1 7 Earl Brand x 52 52 1 1 2 7 1 1 4 4 4 1 1 1 1 12 3 3 2 1 1 1 Fair Flower of 9 Northumberland x 3 3 3 10 The Twa Sisters x 80 80 2 1 1 6 5 1 2 2 7 9 7 1 3 1 14 5 2 3 2 3 1 1 1 11 The Cruel Brother x 12 12 2 1 1 1 2 2 1 1 1 12 Lord Randall x 80 80 2 3 4 1 1 1 11 12 6 5 1 5 1 13 2 2 1 1 5 1 1 1 13 Edward x 36 36 3 1 1 1 1 3 4 1 1 2 10 1 1 1 2 3 14 Babylon x 5 5 1 1 1 1 1 17 Hind Horn x 5 5 2 1 2 18 Sir Lionel x 24 24 3 1 3 4 1 4 1 1 3 1 1 1 20 The Cruel Mother x 31 31 1 3 3 1 1 1 2 1 13 2 2 1 21 The Maid & the Palmer x 1 1 1 23 Judas x 1 1 1 26 The Three Ravens x 25 25 1 1 1 2 4 2 1 1 3 3 2 2 1 1 27 The Whummil Bore x 1 1 1 31 Marriage of Gawain x 1 1 1 37 Thomas Rymer x 1 1 1 38 Wee Wee Man x 1 1 1 40 Queen of Elfin Nourice x 1 1 1 43 The Broomfield Hill x 2 2 1 1 45 King John x 1 1 1 Capt. Wedderburn’s 46 Courtship x 23 23 3 1 1 2 1 1 13 1 49 The Twa Brothers x 43 43 1 1 1 2 7 5 4 1 1 1 13 1 1 1 1 1 1 51 Lizzie Wan x 2 2 1 1 53 Young Beichan x 77 77 1 1 1 3 5 2 2 3 4 7 3 8 1 4 2 12 5 1 3 1 1 1 5 1 54 The Cherry-Tree Carol x 25 25 1 1 1 2 3 1 1 3 1 6 2 1 1 1 56 Dives and Lazarus x 4 4 1 1 1 1 58 Sir Patrick Spens x 5 5 1 1 1 1 1 62 Fair Annie x 3 3 1 1 1 63 Child Waters x 1 1 1 65 Lady Maisry x 7 7 2 2 2 1 68 Young Hunting x 83 83 2 1 1 12 1 1 1 2 5 6 4 1 8 1 14 4 1 1 9 3 1 3 1 Lord Thomas & Fair 73 Annet x 163 163 1 2 12 8 1 2 2 11 13 5 6 1 2 9 2 31 1 9 1 3 3 1 1 2 17 1 5 6 4 1 Fair Margaret & Sweet 74 William’s Ghost x 81 81 1 4 6 3 7 5 3 5 1 1 5 17 2 1 2 4 1 12 1 75 Lord Lovel x 56 56 2 3 2 2 5 5 3 4 1 1 1 5 6 1 1 1 1 1 5 3 1 2 76 Lass of Roch Royal x 46 46 4 1 2 2 1 1 1 1 10 1 1 1 2 2 2 2 6 3 1 1 1 77 Sweet William’s Ghost x 1 1 1 78 The Unquiet Grave x 8 8 1 1 1 3 2 79 Wife of Usher’s Well x 95 95 4 1 1 5 1 1 1 7 12 5 5 1 1 5 3 17 6 1 1 4 1 1 9 1 1 Little Musgrave & Lady 81 Barnard x 80 80 1 9 4 1 1 1 1 5 3 7 1 7 2 17 3 2 2 1 1 7 2 1 1 82 The Bonnie Birdy x 1 1 1 84 Bonny Barbara Allen x 295 295 9 9 5 1 36 31 7 1 1 1 12 27 8 6 1 5 8 5 1 16 24 2 1 1 1 60 1 9 2 3 1 85 Lady Alice x 75 75 2 1 7 6 1 1 3 5 5 4 1 1 3 3 1 1 6 6 2 1 3 6 5 1 87 Prince Robert x 2 2 1 1 90 Jellon Grame x 1 1 1 92 Bonny Bee Hom x 3 3 1 1 1 93 Lamkin x 21 21 1 1 1 1 3 1 1 1 5 4 1 1 Maid Freed from the 95 Gallows x 98 98 2 2 1 1 6 7 1 1 1 2 1 7 11 3 1 1 4 5 1 11 8 2 1 3 1 1 8 3 1 1 99 Johnie Scot x 8 8 1 1 3 3 100 Willie o Winsbury x 1 1 1 Bailiff’s Daughter of 105 Islington x 14 14 1 6 1 2 1 1 2 Knight & Shepherd’s 110 Daughter x 2 2 1 1 114 Johnie Cock x 2 2 1 1 Robin Hood & Guy of 118 Gisborne x 1 1 1 Robin Hood & the 119 Monk x 1 1 1 120 Robin Hood’s Death x 2 2 1 1 Robin Hood & the 121 Potter x 1 1 1 Robin Hood & Little 125 John x 2 2 1 1 Robin Hood & the 126 Tanner x 1 1 1 Bold Pedlar & th Bold 132 Bedlar x 1 1 1 138 Robin Hood & Allen x 2 2 1 1 Robin Hood Rescuing 140 3Squires x 3 3 1 1 1 Robin Hood Rescuing 141 Will Stutly x 1 1 1 155 Sir Hugh x 70 70 1 1 1 5 1 1 3 13 10 4 6 1 2 10 1 1 3 3 3 156 Queen Eleanor’s x 1 1 1 The Hunting of the 162 Cheviot x 2 2 1 1 King Henry V’s 164 Conquest of France x 6 6 2 1 3 The Death of Queen 170 Jane x 5 5 2 1 1 1 173 Mary Hamilton x 8 8 1 2 2 1 2 The Bonnie Earl of 181 Murray x 1 1 1 The Bonnie House of 199 Airlie x 1 1 1 200 The Gypsy Laddie x 99 99 1 1 15 7 2 1 2 1 3 7 5 1 3 7 1 10 9 1 1 1 6 7 4 1 2 Bessy Bell and Mary 201 Gray x 4 4 1 1 1 1 204 Jamie Douglas x 2 2 1 1 209 Geordie x 19 19 1 1 1 4 1 1 1 6 1 1 1 210 Bonnie James Campbell x 5 5 1 2 1 1 214 The Braes o Yarrow x 4 4 1 1 2 221 Katharine Jaffray [sic] x 1 1 1 226 Lizie Lindsay x 1 1 1 240 The Rantin Laddie x 2 2 1 1 James Harris(Daemon 243 Lover) x 187 187 2 2 2 21 8 2 1 1 1 4 20 20 8 4 1 11 4 22 11 2 1 7 1 1 13 6 8 1 2 248 The Grey Cock x 2 2 1 1 250 Henry Martyn x 7 7 1 1 1 1 1 1 1 267 Heir of Linne x 1 1 1 272 The Suffolk Miracle x 13 13 1 1 1 1 5 2 1 1 274 Our Goodman x 75 75 1 9 3 1 1 3 3 7 2 1 1 2 3 5 7 1 1 18 4 1 1 Get Up and Bar the 275 Door x 7 7 1 1 1 1 1 1 1 The Wife Wrapt in 277 Wether’s Skin x 52 52 2 1 3 4 1 1 1 1 3 5 6 5 1 1 1 5 3 2 1 1 3 1 The Farmer’s Curst 278 Wife x 54 54 1 4 3 3 2 3 1 4 5 1 2 1 7 10 2 1 1 1 1 1 279 The Jolly Beggar x 2 2 1 1 283 The Crafty Farmer x 7 7 1 1 1 3 1 Sweet Trinity(Golden 286 Vanity) x 59 59 1 2 2 6 3 1 1 3 3 2 1 1 1 1 3 11 3 1 2 1 3 1 2 1 1 1 1 287 Captain Ward x 1 1 1 289 The Mermaid x 23 23 1 1 1 4 3 1 1 1 4 2 2 1 1 293 John of Hazelgreen x 15 15 9 1 1 1 1 2 295 The Brown Girl x 25 25 2 5 1 1 1 11 2 1 1 The Trooper & the 299 Maid x 11 11 1 2 1 1 1 3 2 Count 59 41 1549 1023 2572 English Scottish Total Variants English Scottish Variants Variants Variants 30 24 14 17 10 189 152 31 16 12 1 7 52 28 148 251 131 92 50 14 11 101 66 3 3 368 3 157 51 15 1 101 43 2 7 21 10 215 12 3 79 29 4 26 11 7 100 Items Number of Child Ballads Found in Research 2573 Total Number of Variant Ballads Identified in Burton-Manning Study.
Load more

Recommended publications
  • The Ballads of the Southern Mountains and the Escape from Old Europe
    B AR B ARA C HING Happily Ever After in the Marketplace: The Ballads of the Southern Mountains and the Escape from Old Europe Between 1882 and 1898, Harvard English Professor Francis J. Child published The English and Scottish Popular Ballads, a five volume col- lection of ballad lyrics that he believed to pre-date the printing press. While ballad collections had been published before, the scope and pur- ported antiquity of Child’s project captured the public imagination; within a decade, folklorists and amateur folk song collectors excitedly reported finding versions of the ballads in the Appalachians. Many enthused about the ‘purity’ of their discoveries – due to the supposed isolation of the British immigrants from the corrupting influences of modernization. When Englishman Cecil Sharp visited the mountains in search of English ballads, he described the people he encountered as “just English peasant folk [who] do not seem to me to have taken on any distinctive American traits” (cited in Whisnant 116). Even during the mid-century folk revival, Kentuckian Jean Thomas, founder of the American Folk Song Festival, wrote in the liner notes to a 1960 Folk- ways album featuring highlights from the festival that at the close of the Elizabethan era, English, Scotch, and Scotch Irish wearied of the tyranny of their kings and spurred by undaunted courage and love of inde- pendence they braved the perils of uncharted seas to seek freedom in a new world. Some tarried in the colonies but the braver, bolder, more venturesome of spirit pressed deep into the Appalachians bringing with them – hope in their hearts, song on their lips – the song their Anglo-Saxon forbears had gathered from the wander- ing minstrels of Shakespeare’s time.
    [Show full text]
  • University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St
    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand marking: or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • 01 Prelude | | |--02 City of Refuge | | |--03 Bring Me My Queen
    |--Abigail Washburn | |--City of Refuge | | |--01 Prelude | | |--02 City of Refuge | | |--03 Bring Me My Queen | | |--04 Chains | | |--05 Ballad of Treason | | |--06 Last Train | | |--07 Burn Thru | | |--08 Corner Girl | | |--09 Dreams Of Nectar | | |--10 Divine Bell | | |--11 Bright Morning Stars | | |--cover | | `--folder | |--Daytrotter Studio | | |--01 City of Refuge | | |--02 Taiyang Chulai | | |--03 Bring Me My Queen | | |--04 Chains | | |--06 What Are They Doing | | `--07 Keys to the Kingdom | |--Live at Ancramdale | | |--01 Main Stageam Set | | |--02 Intro | | |--03 Fall On My Knees | | |--04 Coffee’s Cold | | |--05 Eve Stole The Apple | | |--06 Red & Blazey | | |--07 Journey Home | | |--08 Key To The Kingdom | | |--09 Sometime | | |--10 Abigail talks about the trip to Tibet | | |--11 Song Of The Traveling Daughter | | |--12 Crowd _ Band Intros | | |--13 The Sparrow Watches Over Me | | |--14 Outro | | |--15 Master's Workshop Stage pm Set | | |--16 Tuning, Intro | | |--17 Track 17 of 24 | | |--18 Story about Learning Chinese | | |--19 The Lost Lamb | | |--20 Story About Chinese Reality TV Show | | |--21 Deep In The Night | | |--22 Q & A | | |--23 We’re Happy Working Under The Sun | | |--24 Story About Trip To China | | |--index | | `--washburn2006-07-15 | |--Live at Ballard | | |--01 Introduction | | |--02 Red And Blazing | | |--03 Eve Stole The Apple | | |--04 Free Internet | | |--05 Backstep Cindy_Purple Bamboo | | |--06 Intro. To The Lost Lamb | | |--07 The Lost Lamb | | |--08 Fall On My Knees | | |--Aw2005-10-09 | | `--Index
    [Show full text]
  • Gender Representations in “The Ballad of Tam Lin”
    International Journal of Culture and History, Vol. 3, No. 3, September 2017 Gender Representations in “The Ballad of Tam Lin” Evgeniia Ermakova and Sabina Likhareva etc. It is due to being rooted in the national mentality that Abstract—The present paper addresses a highly relevant gender representations are so fixed in the cultural memory of issue of gender representation in literature that generates much the nation. academic interest as well as practical implications. The material for analysis is the text of the medieval ballad “Tam Lin” as published in the “Child Ballads”. Investigation methodology includes semantic, linguocultural, sociocultural and literary II. MATERIAL AND METHODOLOGY analysis. The findings have been categorized to show how a man As well as myths and fairy-tales, ballads, in spite of and a woman are perceived and portrayed in the English belonging to a plot-driven genre, represent complex culture. The paper would be of interest for scholars and multilevel structure full of implicit cultural senses. The practitioners dealing with gender issues, English and culture studies. material of the present study is comprised by text version A (Robert Burns’ version) of “The Ballad of Tam Lin”, taken Index Terms—Culture, gender, representation, semantics. from “The English and Scottish Popular Ballads, 1882-1898” edited by F. J. Child, otherwise known as “Child Ballads” [4], although the first mention of the plot dates back to as early as I. INTRODUCTION 1549. It can be addressed as a monument of both English and Ballads are poetical narratives frequently having medieval Scottish culture; while the setting, characters and main plot legendary background and performed to music.
    [Show full text]
  • Barbara Allen
    120 Charles Seeger Versions and Variants of the Tunes of "Barbara Allen" As sung in traditional singing styles in the United States and recorded by field collectors who have deposited their discs and tapes in the Archive of American Folk Song in the Library of Congress, Washington, D.C. AFS L 54 Edited by Charles Seeger PROBABLY IT IS safe to say that most English-speaking people in the United States know at least one ballad-tune or a derivative of one. If it is not "The Two Sisters, " it will surely be "When Johnny Comes Marching Home"; or if not "The Derby Ram, " then the old Broadway hit "Oh Didn't He Ramble." If. the title is given or the song sung to them, they will say "Oh yes, I know tllat tune." And probably that tune, more or less as they know it, is to them, the tune of the song. If they hear it sung differently, as may be the case, they are as likely to protest as to ignore or even not notice the difference. Afterward, in their recognition or singing of it, they are as likely to incor­ porate some of the differences as not to do so. If they do, they are as likely to be aware as to be entirely unconscious of having done ·so. But if they ad­ mit the difference yet grant that both singings are of "that" tune, they have taken the first step toward the study of the ballad-tune. They have acknow­ ledged that there are enough resemblances between the two to allow both to be called by the same name.
    [Show full text]
  • Popular Ballads /1
    Popular Ballads /1 POPULAR BALLADS Ballads are anonymous narrative songs that have been preserved by oral transmission. Although any stage of a given culture may produce ballads, they are most character- istic of primitive societies such as that of the American frontier in the eighteenth and nineteenth centuries or that of the English-Scottish border region in the later Middle Ages. These northern English songs, even divorced from the tunes to which they were once sung, are narrative poems of great literary interest. The origins of the popular (or folk) ballad are much disputed. The theory that they were first composed by communal effort, taking shape as the songs with which prim- itive people accompanied ritual dances, no longer seems plausible. On the other hand, the forms in which the ballads have come down to us show that they have been subjected to a continuing process of revision, both conscious and unconscious, by those through whose lips and memories they passed. Though the English ballads were probably composed during the five-hundred-year period from 1200 to 1700, few of them were printed before the eighteenth century and some not until the nineteenth. Bishop Thomas Percy (1729–1811) was among the first to take a literary interest in ballads, stimulated by his chance discovery of a seventeenth-century manuscript in which a number of them had been copied down among a great welter of Middle English verse. Percy’s publication of this material in his Reliques of Ancient English Poetry inspired others, notably Sir Walter Scott, to go to the living source of the ballads and to set them down on paper at the dictation of the border people among whom the old songs were still being sung.
    [Show full text]
  • Popular British Ballads : Ancient and Modern
    11 3 A! LA ' ! I I VICTORIA UNIVERSITY LIBRARY SHELF NUMBER V STUDIA IN / SOURCE: The bequest of the late Sir Joseph Flavelle, 1939. Popular British Ballads BRioky Johnson rcuvsrKAceo BY CVBICt COOKe LONDON w J- M. DENT 5" CO. Aldine House 69 Great Eastern Street E.G. PHILADELPHIA w J. B. LIPPINCOTT COMPANY MDCCCXCIV Dedication Life is all sunshine, dear, If you are here : Loss cannot daunt me, sweet, If we may meet. As you have smiled on all my hours of play, Now take the tribute of my working-day. Aug. 3, 1894. eooccoc PAGE LIST OF ILLUSTRATIONS xxvii THE PREFACE /. Melismata : Musical/ Phansies, Fitting the Court, Cittie, and Countrey Humours. London, 1 6 1 i . THE THREE RAVENS [MelisMtata, No. 20.] This ballad has retained its hold on the country people for many centuries, and is still known in some parts. I have received a version from a gentleman in Lincolnshire, which his father (born Dec. 1793) had heard as a boy from an old labouring man, " who could not read and had learnt it from his " fore-elders." Here the " fallow doe has become " a lady full of woe." See also The Tiua Corbies. II. Wit Restored. 1658. LITTLE MUSGRAVE AND LADY BARNARD . \Wit Restored, reprint Facetix, I. 293.] Percy notices that this ballad was quoted in many old plays viz., Beaumont and Fletcher's Knight of the xi xii -^ Popular British Ballads v. The a Act IV. Burning Pestle, 3 ; Varietie, Comedy, (1649); anc^ Sir William Davenant's The Wits, Act in. Prof. Child also suggests that some stanzas in Beaumont and Fletcher's Bonduca (v.
    [Show full text]
  • Representative Poetry
    REPRESENTATIVE POETRY BALLADS SIR PATRICK SPENS The king sits in Dumferling toune, Drinking the blude-reid wine: "0whar will I get guid sailor, To sail this schip of mine? " Up and spak an eldern knicht, Sat at the kings richt kne: "Sir Patrick Spence is the best sailor, That sails upon the se." The king has written a braid letter, And signd it wi his hand, 10 And sent it to Sir Patrick Spence, Was walking on the sand. The first line that Sir Patrick red, A loud lauch lauched he ; The next line that Sir Patrick red, The teir blinded his ee. "0wha is this has don this deid, This ill deid don to me, To send me out this time o' the yeir, To sail upon the se! 20 "Mak hast, mak haste, my mirry men all, Our guid schip sails the morne:" "0say na sae, my.master deir, For I feir a deadlie storme. "Late, late yestreen I saw the new moone, Wi the auld moone in hir arme, And I feir, I feir, my deir master, That we will cum to harrne." 0 our Scots nobles wer richt laith To weet their cork-heild schoone; 30 Bot lang owre a' the play wer playd, Thair hats they swam aboone. 0 lang, lang may their ladies sit, Wi thair fans into their hand, Or eir they se Sir Patrick Spence Cum sailing to the land. 0 lang, lang may the ladies stand, Wi thair gold kems in their hair, Waiting for thair ain deir lords, For they'll se thame na mair.
    [Show full text]
  • English 577.02 Folklore 2: the Traditional Ballad (Tu/Th 9:35AM - 10:55AM; Hopkins Hall 246)
    English 577.02 Folklore 2: The Traditional Ballad (Tu/Th 9:35AM - 10:55AM; Hopkins Hall 246) Instructor: Richard F. Green ([email protected]; phone: 292-6065) Office Hours: Wednesday 11:30 - 2:30 (Denney 529) Text: English and Scottish Popular Ballads, ed. F.J. Child, 5 vols (Cambridge, Mass.: 1882- 1898); available online at http://www.bluegrassmessengers.com/the-305-child-ballads.aspx.\ August Thurs 22 Introduction: “What is a Ballad?” Sources Tues 27 Introduction: Ballad Terminology: “The Gypsy Laddie” (Child 200) Thurs 29 “From Sir Eglamour of Artois to Old Bangum” (Child 18) September Tues 3 Movie: The Songcatcher Pt 1 Thurs 5 Movie: The Songcatcher Pt 2 Tues 10 Tragic Ballads Thurs 12 Twa Sisters (Child 10) Tues 17 Lord Thomas and Fair Annet (Child 73) Thurs 19 Romantic Ballads Tues 24 Young Bateman (Child 53) October Tues 1 Fair Annie (Child 62) Thurs 3 Supernatural Ballads Tues 8 Lady Isabel and the Elf Knight (Child 4) Thurs 10 Wife of Usher’s Well (Child 79) Tues 15 Religious Ballads Thurs 17 Cherry Tree Carol (Child 54) Tues 22 Bitter Withy Thurs 24 Historical & Border Ballads Tues 29 Sir Patrick Spens (Child 58) Thurs 31 Mary Hamilton (Child 173) November Tues 5 Outlaw & Pirate Ballads Thurs 7 Geordie (Child 209) Tues 12 Henry Martin (Child 250) Thurs 14 Humorous Ballads Tues 19 Our Goodman (Child 274) Thurs 21 The Farmer’s Curst Wife (Child 278) S6, S7, S8, S9, S23, S24) Tues 24 American Ballads Thurs 26 Stagolee, Jesse James, John Hardy Tues 28 Thanksgiving (PAPERS DUE) Jones, Omie Wise, Pretty Polly, &c.
    [Show full text]
  • Ancient Ballads and Songs of the North of Scotland, Hitherto
    1 ifl ANCIENT OF THE NOETH OF SCOTLAND, HITHERTO UNPUBLISHED. explanatory notes, By peter BUCHAN, COKRESFONDING ME3IBER OF THE SOCIETY OF ANTIQUARIES OF SCOTLAND. " The ancient spirit is not dead,— " Old times, wc trust, are living here.' VOL. ir. EDINBURGH: PRINTED 1011 W. & D. LAING, ANI> J, STEVENSON ; A. BllOWN & CO. ABERDEEN ; J. WYLIE, AND ROBERTSON AND ATKINSON, GLASGOW; D. MORISON & CO. PERTH ; AND J. DARLING, LONDON. MDCCCXXVIII. j^^nterct! in -Stationers i^all*] TK CONTENTS V.'Z OF THK SECOND VOLUME. Ballads. N'olcs. The Birth of Robin Hood Page 1 305 /King Malcolm and Sir Colvin 6 30G Young Allan - - - - 11 ib. Sir Niel and Mac Van 16 307 Lord John's Murder 20 ib. The Duke of Athole's Nurse 23 ib. The Laird of Southland's Courtship 27 308 Burd Helen ... 30 ib. Lord Livingston ... 39 ib. Fause Sir John and IMay Colvin 45 309 Willie's Lyke Wake 61 310 JSTathaniel Gordon - - 54 ib. Lord Lundy ... 57 312 Jock and Tarn Gordon 61 ib. The Bonny Lass o' Englessie's Dance 63 313 Geordie Downie . - 65 314 Lord Aboyne . 66 ib. Young Hastings ... 67 315 Reedisdale and Wise William 70 ib. Young Bearwell ... 75 316 Kemp Owyne . 78 ib. Earl Richard, the Queen's Brother 81 318 Earl Lithgow .... 91 ib. Bonny Lizie Lindsay ... 102 ib. The Baron turned Ploughman 109 319 Donald M'Queen's Flight wi' Lizie Menzie 117 ib. The Millar's Son - - - - 120 320 The Last Guid-night ... 127 ib. The Bonny Bows o' London 128 ib. The Abashed Knight 131 321 Lord Salton and Auchanachie 133 ib.
    [Show full text]
  • Oral Tradition 29.1
    Oral Tradition, 29/1 (2014):47-68 Voices from Kilbarchan: Two versions of “The Cruel Mother” from South-West Scotland, 1825 Flemming G. Andersen Introduction It was not until the early decades of the nineteenth century that a concern for preserving variants of the same ballad was really taken seriously by collectors. Prior to this ballad editors had been content with documenting single illustrations of ballad types in their collections; that is, they gave only one version (and often a “conflated” or “amended” one at that), such as for instance Thomas Percy’s Reliques of Ancient English Poetry from 1765 and Walter Scott’s Minstrelsy of the Scottish Border from 1802. But with “the antiquarian’s quest for authenticity” (McAulay 2013:5) came the growing appreciation of the living ballad tradition and an interest in the singers themselves and their individual interpretations of the traditional material. From this point on attention was also given to different variations of the same ballad story, including documentation (however slight) of the ballads in their natural environment. William Motherwell (1797-1835) was one of the earliest ballad collectors to pursue this line of collecting, and he was very conscious of what this new approach would mean for a better understanding of the nature of an oral tradition. And as has been demonstrated elsewhere, Motherwell’s approach to ballad collecting had an immense impact on later collectors and editors (see also, Andersen 1994 and Brown 1997). In what follows I shall first give an outline of the earliest extensively documented singing community in the Anglo-Scottish ballad tradition, and then present a detailed analysis of two versions of the same ballad story (“The Cruel Mother”) taken down on the same day in 1825 from two singers from the same Scottish village.
    [Show full text]
  • The Creighton-Senior Collaboration, 1932-51
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Athabasca University Library Institutional Repository The Creighton-Senior Collaboration, 1932-51 The arrival of Doreen Senior in Halifax in the book, and she was looking for a new collaborator summer of 1932 was a fortuitous event for Canadian who could note the melodies while she wrote down folksong collecting. Doreen, a friend and disciple of the words. In her autobiography, A Life in Folklore, Maud Karpeles, was a folk and country dance she recalled her first meeting with Doreen in the instructor, trained by the English Folk Dance Society, following terms: who anticipated a career as a music teacher making good use of Cecil Sharp's published collections of For years the Nova Scotia Summer School had Folk Songs for Schools. She was aware that Maud been bringing interesting people here, and one day I was invited to meet a new teacher, Miss had recently undertaken two successful collecting Doreen Senior of the English Folk Song and trips to Newfoundland (in 1929 and 1930), and was Dance Society. She liked people and they liked curious to see if Nova Scotia might similarly afford her to such an extent that whenever I met one of interesting variants of old English folksongs and her old summer school students in later years, ballads, or even songs that had crossed the Atlantic they would always ask about her. She was a and subsequently disappeared in their more urban and musician with the gift of perfect pitch and she industrialized land of origin.
    [Show full text]