Ngonsoeng jyugo/Anshang yuge [Ballad on the Shore]

ticularly the May rituals of Padstow and Helston (Elder Wallace 2001, 1–2). Researchers may also find that in certain contexts, John Skinner’s historical and arguably etic perspective adds additional context to Hagmann’s discussion of historical English exoticisation of Cornwall (Skinner [1797]1985). Additionally, Philip Payton’s seminal text The Cornish Overseas: The Epic Story of Cornwall’s ‘Great Migration’ has come out in a new 2020 edition which includes references to exciting newdevelopments in the studyofCornish diasporic groups (Payton2020). While Lea Hagmann’s Celtic Music and Dance in Cornwall: Cornu-Copia is certainly the excellent resource on Cornish music and dance traditions that Sean Williams suggests that it is in the Forward to the book, it may well prove to be equally significant as the start of a new wave of novel research. For musicologists, ethnomusicologists, and musical scholars who are not focused on Cornish culture, the work may serve to bring Cornish music and dance to their attention and to contribute to their understanding of the breadth of these music and dance traditions within the larger context of the Celtic world, the British Isles, and the European region. For scholars of Cornish music and dance, it seems likely that phrases such as ‘after Hagmann’ and ‘to reference Hagmann’ will become commonplace. It is perhaps a particularly important book in that its strengths lie in its generation of the potential for renewed discussion and investigation.