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. …
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Pub Date : 2015-01-01DOI: 10.4324/9781315645520-82
Brian M. Peters
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
卡洛琳·休斯，2张CD + 48页。小册子。音乐传统MTCD365-6, 2014.116.00。20世纪60年代初，尤恩·麦科尔和佩吉·西格参观了多塞特郡普尔几英里外的一个吉普赛人营地，并获得了社区女族长卡罗琳·休斯的信任，她允许她们录制她非凡的歌曲曲目。他们是富有同情心和一丝不苟的收藏家，收录了她的许多材料，并附有生动的传记笔记，收录在优秀的《来自英格兰和苏格兰的旅行者之歌》一书中。至于唱片本身，低保真度的盒式磁带在传统歌曲爱好者之间流传了很多年(我自己仍然有一个)。这些重要的录音现在可以向所有人开放，并附有大量的书中的引文，这要归功于音乐传统和佩吉·西格(Peggy Seeger)——她同意了她的许可。卡洛琳·休斯的歌声既不纯净也不流畅。由于多年艰苦的户外生活，这首歌被尼古丁所染，变得粗糙，听起来并不容易，但它是强烈而广阔的，她刻意的节奏为《如果我是一只黑鸟》、《屠夫男孩》和《奔跑，奔跑的街》等著名歌曲增添了强烈的情感庄严。这些表演与1968年彼得·肯尼迪访问期间的30首歌曲有很大的不同，这些歌曲出现在《我是罗姆人》(TSCD6782D)中，其中一半以上也出现在这里。到1968年，休斯夫人的健康状况每况愈下(她于1971年去世)，听起来疲惫不堪，有时虚弱不堪。麦科尔/西格录音更强，更具表现力，音调明显更高;有人怀疑，它们大多来自他们第一次访问(1962年，还是1963年?)，而不是1966年的后续访问。有时人们认为休斯夫人的曲调特别独特;实际上，大多数都是很传统的，但偶尔也会有一些不寻常的、美丽的东西进入耳朵。《布谷鸟》有着奇特而华丽的旋律，不断地在七度音阶上摇摆，而《学徒男孩》——一场华丽而令人心寒的表演——和《年轻但在成长》通过不规则的或微音的三度和七度音高来挑战传统的调式分配。休斯夫人的歌词是出了名的支离破碎;一张长达140多分钟的双CD包含了91个标题，这表明许多项目都有退化的性质。在较长的作品中，不同民谣的诗节是交错的，人物角色改变了，性别颠倒了，所以即使是更连贯的故事也不一定是传统的。在《羊克鲁克和黑狗》(Sheep-Crook and Black Dog)中——这是一个很好的版本，它的引言部分采用了一种单独的旋律——牧羊人的情人是死去的，而不是骗人的;而在《布鲁姆菲尔德山》中，通常胜利的女巫被她患有嗜睡症的情人谋杀了。史蒂夫·鲁德(Steve Roud)帮忙做笔记，他显然有一项棘手的任务，即为这些文本拼贴画分配适当的索引号，在一些情况下创建新条目。…
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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
托马斯·g·邓肯(编)。剑桥:D. S. Brewer, 2013。xiv + 466页。参考书目。索引。ISBN 978-1-84384-341-2。25.00(英镑)。《中世纪英语抒情诗和颂歌》中的诗歌按日期分为两部分——1200-1400年和1400-1530年(因为事实上，这是两本独立出版的诗集的修订版)——在每一部分中，诗歌按主题分组:爱情抒情诗;道德的和忏悔的;虔诚的和教义的;还有“杂”和“流行”。从任何目前公认的意义上来说，这些都不是民歌，但它们确实对中世纪英语诗歌中出现的英国民歌和民谣有重要的影响，尤其是颂歌，这里特别指的是一种由负担和节组成的诗歌形式，通常有副歌。虽然副歌和节的形式可能起源于简单、流行的舞曲，但最早的中世纪英语颂歌实际上更复杂，可能源于拉丁语和古法语颂歌。此外，虽然大多数颂歌可能是宗教性的，但情况并非总是如此，它们也不是特别与圣诞节有关。尽管有几首爱情诗，尤其是那些受乔叟影响的文雅而精致的作品，反映了宫廷爱情的理想，但在这些歌词中，仍有很多与日常生活的经历有关。例如，许多人都能强烈地感受到自然世界的存在。在杂七杂八的诗歌中，发现了明确的社会评论主题。例如，“Ich herde men upon mould”是一句极其苦涩的抱怨，相比之下，“Old England’s Hard Times”显得平淡无奇。有些歌曲带有粗俗和性隐喻，比如“我有一个温柔的男人”和“我们没有牛皮”，后者表面上是以小贩的贸易为背景的。“我有一个年轻的妹妹”是一首谜语歌，类似于“韦德伯姆船长的求爱”(第46号孩子)。这最后三个条目来自与叙事诗“Seynt Steven was a clerk”(Child 22)相同的早期中世纪英语抒情歌手稿(伦敦，大英图书馆，MS Sloane 2593)。有几首情歌是pastourelles，一种与法国游吟诗人有关的冒险香颂(chanson d’adventure)，其中的主角，本质上是一个出身高贵的诱惑者，骑马到田园风光中寻找快乐。然而，在这里，女性角色比在歌曲中更有可能为自己说话。在颂歌中有一个很好的例子“当我骑上这最后的车”。这件事很重要，因为牧羊羊的情况也为英国民谣提供了基础，比如“骑士和牧羊人的女儿”(孩子110)，并且可能在许多英国民歌的“当我骑马出去”的开端之后。编辑煞费苦心地指出了这些中世纪歌词中显而易见的歌曲般的品质。…
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Pub Date : 2010-01-01DOI: 10.5406/jamerfolk.123.487.0108
N. Cohen, Judy McCulloh
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
阿奇·格林的巨著《只是一个矿工:煤矿歌曲记录研究》中有这样的颂词:献给我的父亲塞缪尔，对他来说，手和脑是一体的。这种夸奖同样适用于阿尔奇本人。他于1917年6月29日出生在马尼托巴省的温尼伯，他的乌克兰父母在塞缪尔参与1905年失败的俄国革命后逃到了那里。1922年，亚伦一家——他的父母和两个姐妹——搬到了洛杉矶的博伊尔高地，在那里“阿奇”继续他父亲参与社会主义劳工政治。1939年，他在加州大学伯克利分校(University of California at Berkeley)获得了政治学学士学位，但他开始觉得，从哲学角度来看，作为一名劳动者的职业生涯更适合他。战争爆发后，他加入了平民保护队(Civilian Conservation Corps)，在克拉马斯河(Klamath River)做了一年的修路工和消防员。后来，他成为了美国海军的一名木匠大副。战争结束后，阿奇回到旧金山，从造船工转做木匠。在大约15年的建筑行业中，他磨练了自己的手艺，倡导工会事业，并对语言、音乐和工人男女的爱好产生了持久的兴趣。1958年，他回到学术界，继续从一个不同的有利位置研究和促进劳动事业。两年后，他在伊利诺伊大学图书馆学院获得了MLS学位。直到1972年，他断断续续地在该大学的劳动与工业关系研究所和英语系担任联合职务。1965年，阿奇参加了宾夕法尼亚大学的民俗学课程，正如他后来讽刺地指出的那样，在那里，他成为了和他的孩子年龄相仿的学生，成为了他认为是同龄人的教授的学生。在他的论文(1968年)中，他结合了他对乡村音乐和劳动歌曲的长期兴趣，对煤矿歌曲的案例研究，作为一个矿工，启动了伊利诺伊大学当时新的(仍在进行的)美国生活中的音乐系列。在20世纪60年代，他组织并指导了伊利诺伊大学校园民谣俱乐部，在华盛顿广场举行的全国民间节日上表演工人的传统，并建立了约翰·爱德华兹纪念基金会，这是加州大学洛杉矶分校的一个档案和研究中心，致力于研究和保存本土音乐。他在创立《JEMF季刊》方面发挥了重要作用，并为其撰写了一系列关于乡土音乐与视觉艺术关系的富有煽动性和洞察力的文章。1962年，莎拉·格特鲁德·诺特在美国民俗学会的一次会议上的一次演讲，引起了阿奇对民俗专业的公众形象的关注。不久，他开始了长期的努力，通过一个或多或少类似于国家艺术与人文基金会的机构，使美国民间传说和民间生活获得全国的认可。1972年，他和妻子Louanne搬到了华盛顿特区。除了在劳联-产联和史密森尼民俗节兼职工作外，他失业了，自封为说客，在国会大厅巡逻，为建立民俗中心的法案争取支持。最初的努力是把它放在史密森学会失败了，但1976年福特总统签署了《美国民间生活保护法》，在国会图书馆建立了美国民间生活中心，最终取得了成功。…
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