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Selling Coals to Newcastle: The media and publishing in relation to North Eastern folk music, 1945-1975
Jude Murphy
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Breathing It In: The Musical Identity of the Scottish Travellers
2012 •
Cheryl Tobler
Title of Document: Breathing It In: The Musical Identity of the Scottish Travellers Cheryl Annette Tobler, Doctor of Philosophy, 2012 Directed By: Dr. Robert C. Provine chair Division of Musicology and Ethnomusicology School of Music, University of Maryland This study examines the creation and continuation of identity among Travellers with regard to their vocal music and storytelling traditions. Travellers are historically a nomadic ethnic group found mainly in the United Kingdom and the Republic of Ireland, and in smaller numbers in the United States. My study focuses specifically on the Travellers of Scotland, in particular those of Perthshire and Aberdeenshire. Known widely for their musical abilities, the historically peripatetic Travellers often introduced new tunes or new settings wherever they travelled and mingled with settled, or nonTraveller, communities. Within the past forty years the majority of Travellers have become settled, and many have managed to maintain their ide...
Edinburgh University Press eBooks
3 Orality and the Ballad Tradition
2012 •
Suzanne Gilbert
Critique of Authenticity
Multiple authenticities of folk songs
2019 •
Lea Hagmann
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.
One Common Thread: The Musical World of Lament
Aaron Corn
This volume represents a selection of papers delivered at a colloquium on laments sponsored by the International Council for Traditional Music (ICTM), The Australian National University (ANU), the National Folklore Conference (NFC) and the National Folk Festival (NFF) on 20–22 April 2011. The title was ‘One Common Thread: A Colloquium on the Musical Expression of Loss and Bereavement’. The program of the colloquium consisted of keynote addresses, paper sessions, roundtable presentations and discussions, concerts and a public forum at the National Folk Festival. A conscious effort was made to include a variety of presentation forms and opportunities for public participation. The concept of laments was deliberately defined broadly as ‘the musical expression of loss and bereavement’ whether or not the traditions represented included self-identified genres of laments. The colloquium brief also included ‘expressions of loss of culture, language, home or country, or personal loss’. Three main themes were identified • loss of place/displacement • personal loss • cultural/language loss. All of the themes are represented in the papers of this volume. The broader context of laments is the musical expression of emotion—a theme that is gathering momentum in international musicological and ethnomusicological circles, prompting the organisation of panels and whole conferences. The editors of this volume are not aware of any previous colloquium of the International Council for Traditional Music on the narrow or wider theme, although a world conference panel was convened in the past on the latter (Vienna, in 2007). And yet, laments are part of the cultural history of a people, especially of oral cultures. Through the private or public outpouring of grief, a healing process is enacted, and positive memories and connections are evoked and passed on through generations in eulogies or panegyric forms. We hope that this volume will contribute to and stimulate the further study of laments and of the wider musical expression of emotion.
FOLK SONG IN CUMBRIA: A DISTINCTIVE REGIONAL REPERTOIRE
Sue Allan
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.
The revival of Manx traditional music : from the 1970s to the present day
2004 •
Chloë Woolley
This thesis examines the revival and subsequent development of traditional music in the Isle of Man from the 1970s until the present day. Together with dance and the Gaelic language, the revival ofManx traditional music has contributed to the reevaluation of a Manx identity based upon traditional values and symbolism. Drawing on individual interviews, a comprehensive survey and primary source material, this thesis investigates the motivations, influences and ideology behind the revival. Issues of nationalism, individual and communal identities, Celticism, authenticity and the formation of cultural boundaries are all addressed in an analysis of the revivalist ideology, which has consequently dictated the standard repertoire and musical style of today. The structure of the study is based upon a theoretical model ofmusical revivalism designed by Tamara E. Livingston (1999:69): 1. an individual or small group of "core revivalists" 2. revival informants and/or original sources ...
Applying a Knowledge Conversion Model to Cultural History : Folk Song From Oral Tradition to Digital Transformation
2017 •
Simon Burnett
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...
