Contextual study of singing in the Fisher family (2024)

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Authenticity is a multi-layered and highly elusive concept, which seems to change its significance when it is applied to an object, a statement or a situation. In folk songs, the matter is further complicated by the fact that, on the one hand, they can be referred to as objects collected on paper or sound-recordings, i.e. as artefacts, while on the other hand, they also come to life the moment they are being sung, i.e. in performance. In this chapter we discuss folk songs both as artefacts and in performance and evaluate how the concept of ‘authenticity’ changes according to these perspectives. We do so by introducing a concept of multiple authenticities, based on notions by Denis Dutton and Regina Bendix. In the second part, we demonstrate how these insights work in practice with a case study of a folk song complex called Where Are You Going To, Fair Maid? with Roud number 298. We conclude that ‘authenticity’ is a dialogic concept, which becomes ‘in-authentic,’ as soon as its parameters become static.

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One of the lacunae of traditional music scholarship in England has been the lack of systematic study of folk song and its performance in discrete geographical areas. This thesis endeavours to address this gap in knowledge in a small way, through a study of Cumbrian folk song and its performance over the past two hundred years. Although primarily a social history of popular culture, with some elements of ethnography and a little musicology, it is also a participant-observer study from the personal perspective of one who has performed and collected Cumbrian folk songs for some forty years. The principal task has been to research and present the folk songs known to have been published or performed in Cumbria since circa 1900, designated as the Cumbrian Folk Song Corpus: a body of 515 songs from 1010 different sources, including manuscripts, print, recordings and broadcasts. The thesis begins with the history of the best-known Cumbrian folk song, ‘D’Ye Ken John Peel’ from its date of composition around 1830 through to the late twentieth century. From this narrative the main themes of the thesis are drawn out: the problem of defining ‘folk song’, given its eclectic nature; the role of the various collectors, mediators and performers of folk songs over the years, including myself; the range of different contexts in which the songs have been performed, and by whom; the vexed questions of ‘authenticity’ and ‘invented tradition’, and the extent to which this repertoire is a distinctive regional one. Analysis of the corpus reveals a heterogeneous collection of songs on a wide range of themes, but with certain genres predominating, notably hunting songs and songs in dialect - songs which, like ‘D’Ye Ken John Peel’, have been mobilised to reinforce ideas of regional identity and pride over many years.

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Applying a Knowledge Conversion Model to Cultural History : Folk Song From Oral Tradition to Digital Transformation

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The purpose of this research project was to test the applicability of the SECI model to a cultural domain within an ethnographic context: the transmission of Scots folk song. Drawing on the archive of the School of Scottish Studies at Edinburgh University, the model was applied to five historical phases defined by changes in the use of media in song acquisition and transmission: oral tradition; externalization in print; dependence on literacy; audio media; and digitization. The findings show that the model offers a valuable analytical framework that can be widely applied in cultural as well as organizational contexts. In addition, the model may be used in a longitudinal analysis to describe non-static relationships between knowledge processes and changing contexts of media and society over time. In addition, the SECI model also emphasises the critical roles played by the community (or communities) in the transmission process, and the physical and virtual spaces in which those transm...

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Contextual study of singing in the Fisher family (2024)
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