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Photographs included in the original manuscript have been reproduced xerographicaily in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE JEAN RITCHIE’S FIELD TRIP - SCOTLAND: AN EXAMINATION OF UNPUBLISHED FIELD RECORDINGS COLLECTED IN SCOTLAND, 1952-53 A Dissertation SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the degree of Doctor of Philosophy By SUSAN HENDRIX BRUMFIELD Norman, Oklahoma 2000 UMI Number 9972508 UMI UMI Microform9972508 Copyright 2000 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Copyright by SUSAN HENDRIX BRUMHELD 2000 All Rights Reserved. JEAN RITCHIE’S FIELD TRIP - SCOTLAND: AN EXAMINATION OF UNPUBLISHED FIELD RECORDINGS COLLECTED IN SCOTLAND, 1952-53 A Dissertation APPROVED FOR THE SCHOOL OF MUSIC BY ACKNOWLEDGEMENTS I would like to thank the members o f my committee: Dr. Stephen Paul, Dr. Paula Conlon, Dr. Matthew Allen, Dr. Michael Rogers and Dr. Jim Gardner. Their insightful comments and suggestions were invaluable, and their collective expertise provided an ample sounding board for the exchange of ideas. Dr. Dennis Shrock, Chair, deserves specM thanks. His commitment to the highest standard of academic integrity in his own work sets a high mark and inspires others toward the same degree o f excellence. Though not oflBcally members o f the committee, two individuals deserve special recognition for their contributions to this project. Dr. Carroll Gonzo, Chair of Graduate Studies in Music Education at the University of Texas, provided immeasurable assistance in organizing the study. Dr. Gonzo’s sharp questions and keen sense o f structure enabled me to “take the pots and pans out of the silverware drawer,” so to speak, and the result was a concise proposal that served as the framework for the entire dissertation. Without the encouragement o f Dr. Jill Trinka at the University of North Texas, it is doubtful that I would ever have begun my doctoral studies. Dr. Trinka’s pioneering work in folk music performance style and music education has been the single most influential factor in the direction o f my own work. She has been my teacher, mentor, colleague and friend, and I am grateful for her unwavering support. During the course o f this study, I was able to visit Scotland five different times. Each trip yielded exciting discoveries, new fiiendships, and warm collegial relationships. iv Among these. Dr. James Porter, Professor of Ethnomnsicology at Aberdeen University, expressed enthusiasm for this research in its earliest stages and validated the need for such a study. Dr. Porter generously arranged for my access to the Greig-Duncan manuscript at Kings College, Aberdeen, and to the archives of the Elphinstone Institute, and was most helpful in arranging the logistical aspects of the trips. I am also grateful to Dr. Margaret MacKay and the staff of the School o f Scottish Studies at Edinburgh University. Archivist Rhona Talbot was especially helpful in locating source recordings and manuscripts. My visits to the School at 27 George Square are among my most treasured experiences. Dr. Thomas Hughes, my friend and colleague, freely gave editorial advice and technical support. John Perrin painstakingly formatted the musical transcriptions on computer. Debbie Coffinan prepared the final draft of the manuscript, and her attention to detail and editorial expertise is reflected in the final product. On a personal note, 1 wish to express my heartfelt thanks to family and fiiends for their love and support throughout this process. My mother, Marlene Hendrix, and my sisters, Sarah Todd and Cathy Hendrix, were active participants in my graduate studies. My late fether, Jerry Hendrix, was without a doubt the most significant musical influence in my life. 1 am also indebted to Simon Smith, whose constant encouragement and faith in my ability to write this story gave me the courage to finish it. Finally, without the active involvement of Jean Ritchie, George Pickow and Hamish Henderson, this project would never have been possible. In visiting their homes, and sharing meals and casual conversations, 1 was allowed a glimpse into the world as it was for them nearly fifry years ago. It has been my privilege to bring this fescinating chapter in their lives to light. TABLE OF CONTENTS ACKNOWLEDGEMENTS.......................................................................................................iv LIST OF FIGURES...................................................................................................................vii LIST OF TRANSCRIPTIONS...............................................................................................viii Chapter 1. INTRODUCTION......................................................................................................1 2. RELATED LITERATURE..................................................................................... 22 3. SETTING THE SCENE......................................................................................... 47 4. JEAN RITCHIE’S “SCOTTISH SAMPLER” TRANSCRIPTIONS.............................................................................................. 64 5. SUMMARY AND CONCLUSIONS..................................................................208 SELECTED BIBLIOGRAPHY.............................................................................................221 Appendix A. ANALYSES............................................................................................................236 B. ADDITIONAL RECORDINGS: SCHOOL OF SCOTTISH STUDIES SOUND ARCfflVES..................................................256 C. INTERVIEWS.......................................................................................................267 VI LIST OF FIGURES Fig. 1. Supplementary Transcription Symbols ................................................................. 67 Fig. 2. Natural Scale — Pipe Scale Comparison ..............................................................110 Fig. 3. Genres Found in Ritchie’s Compilation ............................................................ 209 Fig. 4. Classification o f Source and Revival Informants..............................................212 vn CHAPTER ONE INTRODUCTION "It is all in vain to preach about bad music i f we do not teach children what good music is - Zoltàn Kodàly In March of 1994, the national conference of the Organization of American Kodàly Educators was held in Chattanooga, Tennessee. Its opening concert consisted of a solo performance by Kentucky folk singer Jean Ritchie. A live appearance by the legendary singer presented a rare opportunity for many in the audience, one through which songs known only through books and occasional recordings suddenly sprang to life. Ritchie’s quiet presence dominated the room as she sang children’s songs, ballads, play-party tunes, and mining songs from Kentucky. She spoke informally from the platform stage on which she sat alone, with a mountain dulcimer across her lap. The audience was visibly moved by the stunning simplicity of her final selection, an unaccompanied rendition of “Guide Me, O Thou Great Jehovah. ” Ritchie stood, acknowledging the thunderous applause and standing ovation, then grinned mischievously at the audience as she asked, “You want to hear ‘Skin and Bones’?” Later, Jean Ritchie met with music teachers in an informal session on folk music. She graciously shook the hand of each participant and signed copies of her autobiographical book. Singing Family o f the Cumberlands} During the session, Ritchie spoke of growing up in a musical family in the Southern Appalachians and of her travels through England, Ireland and Scotland in search of her musical roots. Ritchie’s appearance at the OAKE conference as an invited clinician and guest artist demonstrated a renewed commitment on behalf of the organization to provide its members with exposure to authentic performances of American folk and traditional music in a variety of genres. An affiliate of both the International Kodàly Society and the Music Educators National Conference,