FOLK MUSIC JOURNAL最新文献

{"title":"Grainger the Modernist","authors":"R. Greig","doi":"10.4324/9781315585772","DOIUrl":"https://doi.org/10.4324/9781315585772","url":null,"abstract":"Grainger the Modernist Suzanne Robinson and Kay Dreyfus, eds. Farnham and Burlington, VT: Ashgate, 2015. xv + 270 pp. Illus. Music. Index. ISBN 978-1-4724-2022-0. 65.00 [pounds sterling]. [ILLUSTRATION OMITTED] This volume is the published result of a conference that took place at the University of Melbourne in 2007. Featuring papers mainly from Australia-based scholars, it seeks to establish Percy Grainger's place in the history of 'modernism' in music. While most of the fourteen chapters deal with unrelated aspects of the composer's work, there is much of interest here for the folk music enthusiast, if only to shed more light on the fascinating life of this extraordinary man. Three chapters deal directly with Grainger's involvement with folk song. Graham Freeman discusses his approach to folk song collecting and its fundamental difference from that of the other contemporary collectors. Grainger's aim was not to preserve musical relics but to capture and analyse complete performances. In this he was, Freeman argues, anticipating by many years the development of ethnomusicology. Dorothy De Val contrasts Grainger's arrangements of folk songs with the 'watered Mendelssohn' approach of his predecessors. She analyses a number of his early folk song arrangements, made before he started collecting, and notes his use of unconventional chords and rhythms. Commenting on his influence on Benjamin Britten, she credits Grainger with inspiring a move away from the 'pastoral' approach to folk song arrangement. Grainger's contribution to musical modernism through folk song arrangements is the focus of Peter Tregear's chapter. In challenging accepted ideas and seeking fresh approaches, Grainger, he argues, tries to contrast superficial melodic qualities of tunes with deeper, underlying tensions. The composer valued his settings of 'Shepherd's Hey' and 'Molly on the Shore', for example, because 'there is so little gaiety & fun in them'. Tregear contends that Grainger's contributions merit much greater appreciation. Two further chapters examine Grainger's interest and involvement with folk song from other cultures. Graham Barwell describes his fascination with the music and culture of Polynesia. His visit to the area in 1909 was the start of a lifelong interest. He describes listening to the music of the Cook Islands as a 'treat equal to Wagner'. Barwell notes that Grainger regretted not having more time to spend on the analysis of his recordings, but reaffirms his consistently scientific approach. Peter Schimpf describes how Grainger set up a university course in New York that featured many of his folk music recordings, including those of the Lincolnshire singer Joseph Taylor. …","PeriodicalId":40711,"journal":{"name":"FOLK MUSIC JOURNAL","volume":"11 1","pages":"92"},"PeriodicalIF":0.4,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70651756","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sheep-Crook and Black Dog","authors":"Brian M. Peters","doi":"10.4324/9781315645520-82","DOIUrl":"https://doi.org/10.4324/9781315645520-82","url":null,"abstract":"Caroline Hughes. 2 x CD + 48pp. booklet. Musical Traditions MTCD365-6, 2014.116.00. In the early 1960s, Ewan MacColl and Peggy Seeger visited a Gypsy camp a few miles outside Poole, Dorset, and gained the confidence of the community's matriarch, 'Queen' Caroline Hughes, who allowed them to record her extraordinary repertoire of songs. Sympathetic and meticulous collectors, they included much of her material, accompanied by vivid biographical notes, in the excellent volume Travellers' Songs from England and Scotland. As for the recordings themselves, low-fidelity cassette copies were for years passed between aficionados of traditional song (I still have one myself). It's to the great credit of Musical Traditions and Peggy Seeger--who granted her permission - that these important recordings are now available to all, accompanied by extensive quotations from the book. [ILLUSTRATION OMITTED] Caroline Hughes's singing is neither pure nor mellifluous. Nicotine-stained and roughened by years of hard, outdoor living, its rawness isn't easy on the ear, but it's intense and expansive, her deliberate pacing adding potent emotional gravitas to well- known songs like 'If I Were a Blackbird', 'The Butcher Boy', and 'The Running, Running Rue'. There's .a significant difference between these performances and the thirty songs from Peter Kennedy's 1968 visit that surfaced on I'm a Romany Rai (TSCD6782D), over half of which appear here too. By 1968 Mrs Hughes was in failing health (she died in 1971), sounding wearier and sometimes frail. The MacColl/Seeger recordings are stronger, more expressive, and pitched significantly higher; one suspects they are mostly from their first visit (in 1962, or 1963?), rather than a subsequent trip in 1966. It's sometimes claimed that Mrs Hughes's tunes are particularly distinctive; actually, the majority are pretty conventional, but here and there something unusual and beautiful strikes the ear. 'The Cuckoo' has a strange and gorgeous melody, flirting constantly with the seventh of the scale, while The Prentice Boy' - a magnificent and chilling performance - and 'Young but Growing' defy conventional modal assignation through irregular or microtonal pitching of thirds and sevenths. Mrs Hughes's lyrics are notoriously fragmentary; for a double CD running for over 140 minutes to include ninety-one titles indicates the vestigial nature of many items. In the longer pieces, stanzas from different ballads are intercut, character roles changed, and genders reversed, so that even the more coherent stories aren't necessarily conventional. In 'Sheep-Crook and Black Dog'--a fine version with its introductory verse set to a separate melody--the shepherd's lover is deceased rather than deceitful; while in 'The Broomfield Hill' the usually triumphant enchantress is murdered by her narcoleptic lover. Steve Roud, who helped out with the notes, clearly had a tricky task allocating to these textual collages their appropriate index numbers, creating n","PeriodicalId":40711,"journal":{"name":"FOLK MUSIC JOURNAL","volume":"15 1","pages":"686"},"PeriodicalIF":0.4,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70655752","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Medieval English Lyrics and Carols","authors":"D. Atkinson","doi":"10.5860/choice.51-0145","DOIUrl":"https://doi.org/10.5860/choice.51-0145","url":null,"abstract":"Thomas G. Duncan (ed.). Cambridge: D. S. Brewer, 2013. xiv + 466 pp. Bibliography. Index. ISBN 978-1-84384-341-2. [pounds sterling]25.00. The poems in Medieval English Lyrics and Carols are divided into two parts by date-1200-1400 and 1400-1530 (because, in fact, this is a revised edition of two separately published anthologies)-and within each part the poems are grouped by subject: love lyrics; moral and penitential; devotional and doctrinal; and miscellaneous and 'popular'. These are not folk songs in any currently accepted sense, but they do have an important bearing on the presumed emergence of English folk song and balladry out of Middle English poetry, and in particular the carol, which here refers specifically to a verse form comprising burden and stanza, commonly with a refrain. Although the burden and stanza form probably originated with simple, popular dance songs, the earliest Middle English carols are actually more complicated and probably derive from Latin and Old French carols (p. 393). Moreover, while the majority of carols probably are religious, this is not always the case, and neither are they specifically associated with Christmas at this early date. [ILLUSTRATION OMITTED] Even though several of the love poems, especially the urbane and sophisticated pieces influenced by Chaucer, reflect the ideals of courtly love, there is still much among this selection of lyrics that connects with the experience of everyday life. The presence of the natural world, for instance, is strongly felt in many of them. Among the miscellaneous groups of poems are found themes of explicit social comment. 'Ich herde men upon mold', for example, is an aslonishingly bitter complaint, which makes The Hard Times of Old England' seem tame by comparison. There are songs of ribaldry and of sexual metaphor, such as 'I have a gentil cok' and 'We hem aboute no cattes skinnes', the latter of which draws on the pedlar's trade for its ostensible setting. 'I have a yong suster' is a riddle song analogue of 'Captain Wedderbum's Courtship' (Child 46). These last three items are from the same manuscript of early Middle English lyric songs as the ballad 'Seynt Steven was a clerk' (Child 22) (London, British Library, MS Sloane 2593). A few of the love lyrics are pastourelles, a kind of chanson d'aventure associated with the French trouveres, where the protagonist, who is essentially a high-born seducer, rides out to seek pleasure in a pastoral landscape. Here, though, the female character is much more likely to speak up for herself than in the trouvere songs. There is a good example of this in the carol 'As I me rode this endre dai'. This matter is of significance because the situation of the pastourelle also provides the basis for English ballads such as 'The Knight and Shepherd's Daughter' (Child 110)-and presumably lies somewhere behind the 'As I rode out' incipit of numerous English folk songs. The editor is at pains to point out the song-like qualities readily evide","PeriodicalId":40711,"journal":{"name":"FOLK MUSIC JOURNAL","volume":"10 1","pages":"520"},"PeriodicalIF":0.4,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71142739","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Mother Jones' Will","authors":"A. Turner","doi":"10.4324/9780203406359-31","DOIUrl":"https://doi.org/10.4324/9780203406359-31","url":null,"abstract":"","PeriodicalId":40711,"journal":{"name":"FOLK MUSIC JOURNAL","volume":"10 1","pages":"414"},"PeriodicalIF":0.4,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70584432","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Archie Green (1917-2009)","authors":"N. Cohen, Judy McCulloh","doi":"10.5406/jamerfolk.123.487.0108","DOIUrl":"https://doi.org/10.5406/jamerfolk.123.487.0108","url":null,"abstract":"Archie Green's magnificent Only a Miner: Studies in Recorded Coal-Mining Songs bore this dedication: To my father Samuel for whom the skills of hand and head are one. This encomium applied equally well to Archie himself. He was born Aaron Green on 29 June 1917 in Winnipeg, Manitoba, where his Ukrainian parents had fled after Samuel's involvement in the failed 1905 Russian revolution. In 1922 the family--Aaron, his parents, and two sisters--relocated to Los Angeles's Boyle Heights, where 'Archie' continued his father's involvement in socialist labour politics. In 1939 he earned his undergraduate degree in political science from the University of California at Berkeley, but came to feel that a career as a labourer was philosophically more congenial. When the war broke out, he joined the Civilian Conservation Corps, spending a year on the Klamath River as a road builder and firefighter. Then he became a carpenter's mate in the US Navy. [ILLUSTRATION OMITTED] After the war, Archie returned to San Francisco and turned his career from shipwright to carpenter. During some fifteen years in the building trades, he honed his hand skills, advocated union causes, and developed an abiding interest in the language, music, and lore of working men and women. In 1958 he returned to academe, to continue studying and promoting labour causes from a different vantage point. Two years later he earned an MLS degree at the University of Illinois library school. Off and on until 1972 he held joint appointments in that university's Institute of Labor and Industrial Relations and the English Department. In 1965 Archie enrolled in the University of Pennsylvania's Folklore Program, where, as he wryly noted later, he became a classmate to students the age of his children and a student of professors he regarded as his peers. He combined his long-time interests in hillbilly music and labour songs in his dissertation (1968), the case studies of coalmining songs that, as Only a Miner, launched the University of Illinois's then new (and still ongoing) series Music in American Life. Through the 1960s he organized and mentored the University of Illinois Campus Folksong Club, brought programmes presenting workers' traditions to the national folk festivals on Washington's Mall, and established the John Edwards Memorial Foundation, an archive and research centre at UCLA devoted to the study and preservation of vernacular music. He was instrumental in establishing the JEMF Quarterly and contributed to it a long series of provocative, insightful essays on the relationship of vernacular music to the visual arts. In 1962 a talk by Sarah Gertrude Knott at an American Folklore Society meeting drew Archie's attention to the troubled public image of the folklore profession. Soon began his long struggle to confer national recognition for American folklore and folklife through an institution more or less parallel to the National Endowments for the Arts and Humanities. In 1972 he and his wife, Lo","PeriodicalId":40711,"journal":{"name":"FOLK MUSIC JOURNAL","volume":"9 1","pages":"845"},"PeriodicalIF":0.4,"publicationDate":"2010-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.5406/jamerfolk.123.487.0108","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70759257","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}