|
|
|
|
|
|
1 |
|
|
|
What is folkmusic?
A survey of contemporary folk festivals and internet sources--examples of what is available in the folk world nowadays.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
|
|
|
What is the nature of the singing and fiddling traditions of the English language communities of Britain and North America?
What personal and cultural forces shape the structure of the texts, tunes and performance styles?
What are the songs and tunes?
Who are the singers and fiddlers?
What are the regions and historical periods?
What is the difference between "folk" and "popular" music?
|
|
|
|
Dundes, Alan. "What is Folklore?"
Dundes, Alan. "Who Are the Folk?"
Thoms, William. "Folklore."
Lloyd, A. L. "The Foundations of Folk Song." In Folk Song in England. Pp. 11-90. (Skim pp. 36-53, which is Lloyd's account of the special musical qualities of folkmusic)
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Muir, Willa. "Children's Singing Games," and "Singing and Listening to Oral Poetry." |
|
|
|
|
|
|
|
|
|
|
|
|
3 |
|
|
|
Alison and Geordie come to class.
Let's ask them: when (and how) were these musical compositions made, what were they about, how did they circulate, what was their social context? How does folk music serve as indicators of culture and history? |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
What are the qualities of folk music? |
|
|
|
Bronson, Bertrand. "Folk-Song and the Modes." |
|
|
|
|
|
|
|
|
|
|
|
|
4 |
|
|
|
What was the pre-literate context of folkmusic? |
|
|
|
Buchan, David. "The Agricultural Society," "The Border Region," and "The Clannit Society." |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Muir, Willa. "Ballad Background II," "The Northern Scottish Background," and "Story Material." |
|
|
|
|
|
|
|
|
|
|
|
|
5 |
|
|
|
The effects of printing broadsides. |
|
|
|
MacDowell, Paula. The Women of Grub Street. Pp. 58-62, 81-92.
Dugaw, Dianne. "The Popular Marketing of 'Old Ballads': The Ballad Revival and Eighteenth-Century Antiquarianism Reconsidered." |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Preserving the tradition. The beginning of collecting. |
|
|
|
Harker, Dave. "Introduction" (pp. ix-xvii); and "The Early Mediators" (pp. 3-14). In Fakesong... |
|
|
|
|
|
|
|
|
|
|
|
|
6 |
|
|
|
|
|
|
|
Harker, Dave. "From Thomas Percy to Joseph Ritson"; and "From Walter Scott to Robert Chambers."
Dugaw, Dianne, ed. "Addison," "Percy," "Ritson," "Scott," and "Motherwell." |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Buchan, David. "Balladry and Oral Poetry," "The Oral Ballads of Mrs. Brown," and "The Substance of Ballads."
Bronson, Bertrand. "Folk-Song and the Modes," "Habits of the Ballad as Song," and "Words and Music in Child Ballads." |
|
|
|
|
|
|
|
|
|
|
|
|
7 |
|
|
|
Pick a ballad from Child volume that will be yours. Listen to it, sing it, play it, read about it. Write a 5-page paper on the literary qualities of the ballad in general and yours in particular.
The paper will be due in Week #8. |
|
|
|
Buchan, David. "Conclusion." In The Ballad and the Folk. Pp. 271-77.
Harker, Dave. Fakesong: The Manufacture of British "Folksong" 1700 to the Present Day. Pp. 101-37.
Dugaw, Dianne, ed. The Anglo-American Ballad. Pp. 57-67.
"Francis James Child," the Introduction to Child's The English and Scottish Popular Ballads. Vol. I.
Listen to the CD "Classic Ballads of Britain and Ireland," Alan Lomax collection, and read the liner notes. |
|
|
|
|
|
|
|
|
|
|
|
|
8 |
|
|
|
A closer examination of the migration of fiddle styles all over the New World. We will consider the musical qualities of traditional fiddle music: modalities, tune types, dance types, rhythmic variations, bowings, instrument tunings, accompanying instruments, ensemble playing. Selections from, among others, Gerald Milnes, Play of a Fiddle. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
|
|
|
Schedule an hour to watch Sprout Wings and Fly. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
|
|
|
Music in the New World |
|
|
|
Ritchie, Jean. Singing Family of the Cumberlands. Pp. 1-49, 95-178, 224-256. N.B. There is a cut of "Lord Bateman" on the CD. Look at "John Riley" and "John Henry" in the Lomaxes' Our Singing Country. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
African-American Influence |
|
|
|
Southern, Eileen J. Readings in Black American Music. Pp. 4-26, 91-121. |
|
|
|
|
|
|
|
|
|
|
|
|
11 |
|
|
|
|
|
|
|
Whisnant, David. "Hindman Settlement School." |
|
|
|
|
|
|
|
|
|
|
|
|
12 |
|
|
|
|
|
|
|
Whisnant, David. "Olive Dame Campbell."
Harker, Dave. "On Cecil Sharp." |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Whisnant, David. "The White Top Festival." |
|
|
|
|
|
|
|
|
|
|
|
|
13 |
|
|
|
John and Alan Lomax |
|
|
|
Our Singing Country. Introduction, Preface, and Musical Preface (xiii-xxxv) and pp. 149-177.
Compare "Old Bangum" to Child 18 (Sir Lionel) and "Sweet William" to Child 7 (Earl Brand) both musically and literally. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
A 5-page paper will be due this week, with analyses of styles, tune-types, artists, and/or the description of a musical culture through the eyes and ears of fiddlers in the greater Boston area. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
14 |
|
|
|
Further discussion of songs in OSC |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Performances |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
15 |
|
|
|
Wrap up. Last day of class. |
|
|
|
|
|
|
|
|
|
|