Roald Maliangkay
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780824866655
- eISBN:
- 9780824876845
- Item type:
- book
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824866655.001.0001
- Subject:
- Music, Ethnomusicology, World Music
Broken Voices is the first English-language book on Korea’s rich folksong traditions, and the first study of the effects of Japanese colonialism on the intangible heritage of its former colony. ...
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Broken Voices is the first English-language book on Korea’s rich folksong traditions, and the first study of the effects of Japanese colonialism on the intangible heritage of its former colony. Maliangkay demonstrates that South Korea’s cultural preservation system, one of the world’s most elaborate, is deeply rooted in the period of Japanese colonial rule. He describes how the three largest folksong traditions, which have all been passed on in and around Seoul, have developed prior to and after becoming recognized as national cultural properties. Although continued government funding for Korea’s national heritage has won over many skeptics, close analysis of the traditions reveals that they have changed significantly since their official designation as Important Intangible Cultural Property. Those changes are, however, not caused by the prevailing image of Japan only, or the system per se, but by a combination of socio-political and economic factors. Since traditions that fail to attract practitioners and audiences are unsustainable, compromises may be unwelcome, but imperative.Less
Broken Voices is the first English-language book on Korea’s rich folksong traditions, and the first study of the effects of Japanese colonialism on the intangible heritage of its former colony. Maliangkay demonstrates that South Korea’s cultural preservation system, one of the world’s most elaborate, is deeply rooted in the period of Japanese colonial rule. He describes how the three largest folksong traditions, which have all been passed on in and around Seoul, have developed prior to and after becoming recognized as national cultural properties. Although continued government funding for Korea’s national heritage has won over many skeptics, close analysis of the traditions reveals that they have changed significantly since their official designation as Important Intangible Cultural Property. Those changes are, however, not caused by the prevailing image of Japan only, or the system per se, but by a combination of socio-political and economic factors. Since traditions that fail to attract practitioners and audiences are unsustainable, compromises may be unwelcome, but imperative.
Robert Adlington
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780197265390
- eISBN:
- 9780191760440
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197265390.003.0001
- Subject:
- Music, History, Western
This chapter sketches key contexts (both global-political and scholarly) for the research presented by this book. By way of introduction to the individual chapters in the book, a number of connecting ...
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This chapter sketches key contexts (both global-political and scholarly) for the research presented by this book. By way of introduction to the individual chapters in the book, a number of connecting preoccupations are identified: debates over artistic experiment and populism, and over the handling of cultural difference; the diverse motivations for communist organisations to become involved in music, and their anxieties about such an involvement; attempts made to evade the grasp of political and economic structures (state and commerce especially) that communists typically opposed; and experimentation in alternative forms of musical practice that were imagined better to reflect communist ideology. The irreducible plurality of positions staked out by communist musicians and groups is emphasised.Less
This chapter sketches key contexts (both global-political and scholarly) for the research presented by this book. By way of introduction to the individual chapters in the book, a number of connecting preoccupations are identified: debates over artistic experiment and populism, and over the handling of cultural difference; the diverse motivations for communist organisations to become involved in music, and their anxieties about such an involvement; attempts made to evade the grasp of political and economic structures (state and commerce especially) that communists typically opposed; and experimentation in alternative forms of musical practice that were imagined better to reflect communist ideology. The irreducible plurality of positions staked out by communist musicians and groups is emphasised.
Fabiola Orquera
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780197265390
- eISBN:
- 9780191760440
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197265390.003.0009
- Subject:
- Music, History, Western
In 1947 the Peronist government blacklisted the Argentinean composer Atahualpa Yupanqui, forcing him into exile in Eastern Europe and Paris. Yupanqui, then affiliated to the Communist Party, was ...
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In 1947 the Peronist government blacklisted the Argentinean composer Atahualpa Yupanqui, forcing him into exile in Eastern Europe and Paris. Yupanqui, then affiliated to the Communist Party, was already well known in his country for songs that celebrated the life of rural workers in the Argentinean Andes, and denounced their hardships. Yupanqui's Parisian sojourn, during which he secured the support of the French recording label Le Chant du Monde, provided him with the opportunity to introduce Argentine folklore to European audiences. This chapter focuses upon the period 1946 to 1950, analyzing Yupanqui's complex relationship with the populist policies of Perón, and assessing his appeal for French communists and fellow travellers as a privileged representative of the proletarian aesthetic.Less
In 1947 the Peronist government blacklisted the Argentinean composer Atahualpa Yupanqui, forcing him into exile in Eastern Europe and Paris. Yupanqui, then affiliated to the Communist Party, was already well known in his country for songs that celebrated the life of rural workers in the Argentinean Andes, and denounced their hardships. Yupanqui's Parisian sojourn, during which he secured the support of the French recording label Le Chant du Monde, provided him with the opportunity to introduce Argentine folklore to European audiences. This chapter focuses upon the period 1946 to 1950, analyzing Yupanqui's complex relationship with the populist policies of Perón, and assessing his appeal for French communists and fellow travellers as a privileged representative of the proletarian aesthetic.
Peter Gough
- Published in print:
- 2015
- Published Online:
- April 2017
- ISBN:
- 9780252039041
- eISBN:
- 9780252097010
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039041.001.0001
- Subject:
- Music, History, American
At its peak, the Federal Music Project (FMP) employed nearly 16,000 people who reached millions of Americans through performances, composing, teaching, and folksong collection and transcription. This ...
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At its peak, the Federal Music Project (FMP) employed nearly 16,000 people who reached millions of Americans through performances, composing, teaching, and folksong collection and transcription. This book explores how the FMP's activities in the West shaped a new national appreciation for the diversity of American musical expression. From the onset, administrators and artists debated whether to represent highbrow, popular, or folk music in FMP activities. Though the administration privileged using “good” music to educate the public, in the West local preferences regularly trumped national priorities and allowed diverse vernacular musics to be heard. African American and Hispanic music found unprecedented popularity while the cultural mosaic illuminated by American folksong exemplified the spirit of the Popular Front movement. These new musical expressions combined the radical sensibilities of an invigorated Left with nationalistic impulses. At the same time, they blended traditional patriotic themes with an awareness of the country's varied ethnic musical heritage and vast—but endangered—store of grassroots music.Less
At its peak, the Federal Music Project (FMP) employed nearly 16,000 people who reached millions of Americans through performances, composing, teaching, and folksong collection and transcription. This book explores how the FMP's activities in the West shaped a new national appreciation for the diversity of American musical expression. From the onset, administrators and artists debated whether to represent highbrow, popular, or folk music in FMP activities. Though the administration privileged using “good” music to educate the public, in the West local preferences regularly trumped national priorities and allowed diverse vernacular musics to be heard. African American and Hispanic music found unprecedented popularity while the cultural mosaic illuminated by American folksong exemplified the spirit of the Popular Front movement. These new musical expressions combined the radical sensibilities of an invigorated Left with nationalistic impulses. At the same time, they blended traditional patriotic themes with an awareness of the country's varied ethnic musical heritage and vast—but endangered—store of grassroots music.
Joseph J. Ryan
- Published in print:
- 2003
- Published Online:
- October 2011
- ISBN:
- 9780198217527
- eISBN:
- 9780191678240
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198217527.003.0021
- Subject:
- History, British and Irish Modern History
The ten volumes of lyric verse with musical settings by Sir John Stevenson that Thomas Moore published had found wide favour in polite society on both sides of the Irish Sea. Their success in ...
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The ten volumes of lyric verse with musical settings by Sir John Stevenson that Thomas Moore published had found wide favour in polite society on both sides of the Irish Sea. Their success in focusing attention on Ireland's rich treasure of folksong was never in doubt. The fruits of Moore's labours advanced the notion of the Irish as a nation of people especially gifted in musical expression. Indeed, the excellence of the musical heritage contributed significantly to the cultural arguments in favour of Ireland's separate nationhood. The store of traditional song was adequate corroboration of the country's claim to be regarded among the most musically endowed of the western world. This was truly the art of the people; a venerable oral tradition, predominantly monophonic, small in structure, with a repository of melody of undeniable beauty.Less
The ten volumes of lyric verse with musical settings by Sir John Stevenson that Thomas Moore published had found wide favour in polite society on both sides of the Irish Sea. Their success in focusing attention on Ireland's rich treasure of folksong was never in doubt. The fruits of Moore's labours advanced the notion of the Irish as a nation of people especially gifted in musical expression. Indeed, the excellence of the musical heritage contributed significantly to the cultural arguments in favour of Ireland's separate nationhood. The store of traditional song was adequate corroboration of the country's claim to be regarded among the most musically endowed of the western world. This was truly the art of the people; a venerable oral tradition, predominantly monophonic, small in structure, with a repository of melody of undeniable beauty.
Roald Maliangkay
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780824866655
- eISBN:
- 9780824876845
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824866655.003.0001
- Subject:
- Music, Ethnomusicology, World Music
In Korea, museum collections have long been comprised of mementos rather than specimens of the national heritage. Even so, Korean cultural properties have served the national interests of various ...
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In Korea, museum collections have long been comprised of mementos rather than specimens of the national heritage. Even so, Korean cultural properties have served the national interests of various administrations since the early 1960s. Although the cultural policies of previous military governments promoted patriotism and national pride, they also nurtured a cultural cringe that would prove hard to erase. Today, however, Korea’s intangible heritage supports the Korean Wave, which brought an end to the cultural cringe in the late 1990s.Less
In Korea, museum collections have long been comprised of mementos rather than specimens of the national heritage. Even so, Korean cultural properties have served the national interests of various administrations since the early 1960s. Although the cultural policies of previous military governments promoted patriotism and national pride, they also nurtured a cultural cringe that would prove hard to erase. Today, however, Korea’s intangible heritage supports the Korean Wave, which brought an end to the cultural cringe in the late 1990s.
Roald Maliangkay
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780824866655
- eISBN:
- 9780824876845
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824866655.003.0003
- Subject:
- Music, Ethnomusicology, World Music
This chapter discusses the realm of Korean folksongs, old and new, their regional characteristics, and their terminology. Urbanization, technological change and political initiatives have greatly ...
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This chapter discusses the realm of Korean folksongs, old and new, their regional characteristics, and their terminology. Urbanization, technological change and political initiatives have greatly affected the creation and standardization of genres, and their valorization. While Confucianism and Buddhism were primary factors in the creation of folksongs in the past, it appears as though Christianity is currently the most likely agent of change.Less
This chapter discusses the realm of Korean folksongs, old and new, their regional characteristics, and their terminology. Urbanization, technological change and political initiatives have greatly affected the creation and standardization of genres, and their valorization. While Confucianism and Buddhism were primary factors in the creation of folksongs in the past, it appears as though Christianity is currently the most likely agent of change.
Roald Maliangkay
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780824866655
- eISBN:
- 9780824876845
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824866655.003.0004
- Subject:
- Music, Ethnomusicology, World Music
The history of the folksong genres Sŏnsori sant’aryŏng and Kyŏnggi minyo reveals that the two genres have changed dramatically in terms of their gender representation over the years. The life stories ...
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The history of the folksong genres Sŏnsori sant’aryŏng and Kyŏnggi minyo reveals that the two genres have changed dramatically in terms of their gender representation over the years. The life stories of the first holders of the two genres testify to the significant impact of colonialism and the Korean War on their work. They also highlight the importance of personal networks and the media for the careers of performers and the preservation of their art. Detailed analysis of the music, repertoire, and presentation of the traditions demonstrates that various changes were effected before and after they were appointed Important Intangible Cultural Properties.Less
The history of the folksong genres Sŏnsori sant’aryŏng and Kyŏnggi minyo reveals that the two genres have changed dramatically in terms of their gender representation over the years. The life stories of the first holders of the two genres testify to the significant impact of colonialism and the Korean War on their work. They also highlight the importance of personal networks and the media for the careers of performers and the preservation of their art. Detailed analysis of the music, repertoire, and presentation of the traditions demonstrates that various changes were effected before and after they were appointed Important Intangible Cultural Properties.
Roald Maliangkay
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780824866655
- eISBN:
- 9780824876845
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824866655.003.0006
- Subject:
- Music, Ethnomusicology, World Music
Folksong traditions have come to be promoted as the valuable property of the Korean people as a whole, including the growing number of Koreans born overseas. While the direct recollection of the ...
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Folksong traditions have come to be promoted as the valuable property of the Korean people as a whole, including the growing number of Koreans born overseas. While the direct recollection of the colonial experience is waning, the changes it has effected in the three genres—the substitution of “authenticity” with popular, iconic appeal—may be permanent. Rather than being threatened by the loss of authenticity, however, folksongs retain their appeal, albeit for arguably less practical and more political reasons, such as tourism, nostalgia, and community pride.Less
Folksong traditions have come to be promoted as the valuable property of the Korean people as a whole, including the growing number of Koreans born overseas. While the direct recollection of the colonial experience is waning, the changes it has effected in the three genres—the substitution of “authenticity” with popular, iconic appeal—may be permanent. Rather than being threatened by the loss of authenticity, however, folksongs retain their appeal, albeit for arguably less practical and more political reasons, such as tourism, nostalgia, and community pride.
Malcolm Gillies, David Pear, and Mark Carroll
- Published in print:
- 2006
- Published Online:
- January 2010
- ISBN:
- 9780195305371
- eISBN:
- 9780199863624
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195305371.003.0004
- Subject:
- Music, History, Western
This chapter describes the Grainger family friendships in appropriate quotations. These include the local physician, Henry O'Hara, and his wonderful Irish use of language; the homosexual Dr Hamilton ...
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This chapter describes the Grainger family friendships in appropriate quotations. These include the local physician, Henry O'Hara, and his wonderful Irish use of language; the homosexual Dr Hamilton Russell, for whom Grainger's demonstrates his acts of flagellation. Rose Grainger's syphilis and its development during their time in Frankfurt, Germany, along with Karl Klimsch's generosity to Rose and Percy are recounted. Balfour Gardiner's personality is outlined, in particular his hatred of individuals who exchange political affiliation for artistic favour. Roger Quilter's failure to help the distressed Grainger at the Harrogate Festival in 1929 is also discussed. Grainger describes his first mistress, Mrs Lilith Lowrey, and her role in his acceptance into Edwardian London “society.” He confronts the implications of his sado-masochistic experiments in Frankfurt, and the health benefits of masturbation. Australian expatriots in London during the Edwardian era are mentioned, including Lillian Devlin. The complex social web that enabled Grainger to begin successful folksong collecting is described, with particular reference to Eliza Wedgewood, and also his friendship with the painter John Singer Sargent.Less
This chapter describes the Grainger family friendships in appropriate quotations. These include the local physician, Henry O'Hara, and his wonderful Irish use of language; the homosexual Dr Hamilton Russell, for whom Grainger's demonstrates his acts of flagellation. Rose Grainger's syphilis and its development during their time in Frankfurt, Germany, along with Karl Klimsch's generosity to Rose and Percy are recounted. Balfour Gardiner's personality is outlined, in particular his hatred of individuals who exchange political affiliation for artistic favour. Roger Quilter's failure to help the distressed Grainger at the Harrogate Festival in 1929 is also discussed. Grainger describes his first mistress, Mrs Lilith Lowrey, and her role in his acceptance into Edwardian London “society.” He confronts the implications of his sado-masochistic experiments in Frankfurt, and the health benefits of masturbation. Australian expatriots in London during the Edwardian era are mentioned, including Lillian Devlin. The complex social web that enabled Grainger to begin successful folksong collecting is described, with particular reference to Eliza Wedgewood, and also his friendship with the painter John Singer Sargent.
Emanuele Senici
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9780226663548
- eISBN:
- 9780226663685
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226663685.003.0012
- Subject:
- Music, Opera
This chapter pursues the line of enquiry first addreessed in the previous one by delving into the special case of “Di tanti palpiti,” a tune for the title character in Tancredi and Rossini’s most ...
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This chapter pursues the line of enquiry first addreessed in the previous one by delving into the special case of “Di tanti palpiti,” a tune for the title character in Tancredi and Rossini’s most famous single piece in early nineteenth-century Italy (and beyond). Following its travels outside the urban sphere and into the countryside in the form of folk songs, the chapter asks why this particular melody might have been singled out by its extraordinary success, comparing it both with other tunes by Rossini and with other melodies with literate origins that became “popular” songs. This comparative exercise brings to the fore the crucial function of memory in the diffusion of Rossini’s music, at different social levels and therefore at different degrees of familiarity with his operas.Less
This chapter pursues the line of enquiry first addreessed in the previous one by delving into the special case of “Di tanti palpiti,” a tune for the title character in Tancredi and Rossini’s most famous single piece in early nineteenth-century Italy (and beyond). Following its travels outside the urban sphere and into the countryside in the form of folk songs, the chapter asks why this particular melody might have been singled out by its extraordinary success, comparing it both with other tunes by Rossini and with other melodies with literate origins that became “popular” songs. This comparative exercise brings to the fore the crucial function of memory in the diffusion of Rossini’s music, at different social levels and therefore at different degrees of familiarity with his operas.
David Manning (ed.)
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195182392
- eISBN:
- 9780199851485
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195182392.001.0001
- Subject:
- Music, History, Western
Almost 50 years since his passing, the music of Ralph Vaughan Williams continues to captivate audiences around the world, evoking the sound and spirit of folksong and the image of rural landscape. In ...
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Almost 50 years since his passing, the music of Ralph Vaughan Williams continues to captivate audiences around the world, evoking the sound and spirit of folksong and the image of rural landscape. In this book, we read the composer in his own words, as he pursues two related ambitions: to create his own musical language, and to make early twentieth-century England a musical nation. The book contains 102 items written by the composer between 1897 and the year of his death, 1958, including articles for musical magazines, transcripts of broadcasts, obituary notices, and program notes, illuminating his work as a composer and highlighting his numerous other roles as an active supporter of amateur music-makers, a leader in the folk-song revival, educator, performer, campaigner for English music, and polemicist. By addressing a variety of topics, Vaughan Williams reveals the complex and volatile political, musical, and cultural contexts in which he worked over a period of six decades. In these circumstances, Vaughan Williams demonstrates the breadth of his knowledge, the depth of his understanding, and his commitment to communicating with a wide audience. His writings are purposely accessible to reach this audience, permeated with central themes of originality, folksong, a sense of history, and the importance of self-expression. Moreover, the collection reveals the emergence of Vaughan Williams' aesthetics of music during the early 1900s, as he came to terms with the legacy of Johannes Brahms and Richard Wagner in order to develop his personal musical idiom.Less
Almost 50 years since his passing, the music of Ralph Vaughan Williams continues to captivate audiences around the world, evoking the sound and spirit of folksong and the image of rural landscape. In this book, we read the composer in his own words, as he pursues two related ambitions: to create his own musical language, and to make early twentieth-century England a musical nation. The book contains 102 items written by the composer between 1897 and the year of his death, 1958, including articles for musical magazines, transcripts of broadcasts, obituary notices, and program notes, illuminating his work as a composer and highlighting his numerous other roles as an active supporter of amateur music-makers, a leader in the folk-song revival, educator, performer, campaigner for English music, and polemicist. By addressing a variety of topics, Vaughan Williams reveals the complex and volatile political, musical, and cultural contexts in which he worked over a period of six decades. In these circumstances, Vaughan Williams demonstrates the breadth of his knowledge, the depth of his understanding, and his commitment to communicating with a wide audience. His writings are purposely accessible to reach this audience, permeated with central themes of originality, folksong, a sense of history, and the importance of self-expression. Moreover, the collection reveals the emergence of Vaughan Williams' aesthetics of music during the early 1900s, as he came to terms with the legacy of Johannes Brahms and Richard Wagner in order to develop his personal musical idiom.
Beth E. Levy
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780520267763
- eISBN:
- 9780520952027
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520267763.003.0011
- Subject:
- Music, History, American
This chapter focuses on Roy Harris's folk songs. At the same time Harris was experimenting with autogenesis in Farewell to Pioneers, he was also making forays into a more accessible musical language ...
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This chapter focuses on Roy Harris's folk songs. At the same time Harris was experimenting with autogenesis in Farewell to Pioneers, he was also making forays into a more accessible musical language based on folk song. It was the plausibility of personal identification with folk song that continued to set Harris apart when American composers began turning to folk song in droves during the Depression. Harris's most famous folk-based works appeared at precisely the time when American artists left and right were scrambling to acquaint or reacquaint themselves with American folklore. His largest folk-based work is the Folksong Symphony (1939–40).Less
This chapter focuses on Roy Harris's folk songs. At the same time Harris was experimenting with autogenesis in Farewell to Pioneers, he was also making forays into a more accessible musical language based on folk song. It was the plausibility of personal identification with folk song that continued to set Harris apart when American composers began turning to folk song in droves during the Depression. Harris's most famous folk-based works appeared at precisely the time when American artists left and right were scrambling to acquaint or reacquaint themselves with American folklore. His largest folk-based work is the Folksong Symphony (1939–40).
William G. Pooley
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9780198847502
- eISBN:
- 9780191882180
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198847502.001.0001
- Subject:
- History, European Modern History, Cultural History
The moorlands of Gascony are often considered one of the most dramatic examples of top-down rural modernization in nineteenth-century Europe. From an area of open moors, they were transformed in one ...
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The moorlands of Gascony are often considered one of the most dramatic examples of top-down rural modernization in nineteenth-century Europe. From an area of open moors, they were transformed in one generation into the largest man-made forest in Europe. This book explores how these changes were experienced and negotiated by the people who lived there, drawing on the immense ethnographic archive of Félix Arnaudin (1844–1921). The book replaces the songs, stories, and everyday speech that Arnaudin collected, as well as the photographs he took, in the everyday lives of agricultural workers and artisans. It argues that the changes are understood as a gradual revolution in bodily experiences, as men and women forged new working habits, new sexual relations, and new ways of conceiving of their own bodies. Rather than just a story of top-down reform, this is an account of the flexibility and creativity of the cultural traditions of the working population. The book begins with a biographical sketch of the folklorist Arnaudin and an overview of the men and women whose cultural traditions he recorded. The following chapters explore everyday speech about the body, stories of werewolves and shapeshifters, tales of animal cunning and exploitation, and songs about love and courtship. The book focuses on the lives of a handful of the most talented storytellers and singers Arnaudin encountered, showing how their cultural choices reflect wider patterns of behaviour in the region, and across rural Europe.Less
The moorlands of Gascony are often considered one of the most dramatic examples of top-down rural modernization in nineteenth-century Europe. From an area of open moors, they were transformed in one generation into the largest man-made forest in Europe. This book explores how these changes were experienced and negotiated by the people who lived there, drawing on the immense ethnographic archive of Félix Arnaudin (1844–1921). The book replaces the songs, stories, and everyday speech that Arnaudin collected, as well as the photographs he took, in the everyday lives of agricultural workers and artisans. It argues that the changes are understood as a gradual revolution in bodily experiences, as men and women forged new working habits, new sexual relations, and new ways of conceiving of their own bodies. Rather than just a story of top-down reform, this is an account of the flexibility and creativity of the cultural traditions of the working population. The book begins with a biographical sketch of the folklorist Arnaudin and an overview of the men and women whose cultural traditions he recorded. The following chapters explore everyday speech about the body, stories of werewolves and shapeshifters, tales of animal cunning and exploitation, and songs about love and courtship. The book focuses on the lives of a handful of the most talented storytellers and singers Arnaudin encountered, showing how their cultural choices reflect wider patterns of behaviour in the region, and across rural Europe.
Pierre Cachia
- Published in print:
- 2011
- Published Online:
- March 2012
- ISBN:
- 9780748640867
- eISBN:
- 9780748653300
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748640867.003.0011
- Subject:
- Society and Culture, Middle Eastern Studies
This chapter provides a translation of Karam il-Yatīm, a form of an Egyptian folk ballad. The translation in this chapter is one of the four songs sung by Yūsuf Šitā, recorded on commercially ...
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This chapter provides a translation of Karam il-Yatīm, a form of an Egyptian folk ballad. The translation in this chapter is one of the four songs sung by Yūsuf Šitā, recorded on commercially produced cassettes. Being characteristic of Egyptian narrative folksongs, this chapter examines the poet's concern with devising polysyllabic paronomasias, as well as his way of unfolding the stages of the narrative.Less
This chapter provides a translation of Karam il-Yatīm, a form of an Egyptian folk ballad. The translation in this chapter is one of the four songs sung by Yūsuf Šitā, recorded on commercially produced cassettes. Being characteristic of Egyptian narrative folksongs, this chapter examines the poet's concern with devising polysyllabic paronomasias, as well as his way of unfolding the stages of the narrative.
Sadhana Naithani
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9781617039935
- eISBN:
- 9781626740266
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617039935.003.0005
- Subject:
- Literature, Folk Literature
This chapter considers Röhrich’s articles on German folksongs. These articles show that Röhrich is not limited by a fixed number of subjects. He is interested in examining different kinds of texts, ...
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This chapter considers Röhrich’s articles on German folksongs. These articles show that Röhrich is not limited by a fixed number of subjects. He is interested in examining different kinds of texts, and yet a choice is clearly visible. Röhrich’s concerns are as much with the history of the discipline as with current issues and phenomena important for folklore research.Less
This chapter considers Röhrich’s articles on German folksongs. These articles show that Röhrich is not limited by a fixed number of subjects. He is interested in examining different kinds of texts, and yet a choice is clearly visible. Röhrich’s concerns are as much with the history of the discipline as with current issues and phenomena important for folklore research.
Simon J. Bronner
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781496822628
- eISBN:
- 9781496822673
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496822628.003.0007
- Subject:
- History, African-American History
Barnacle Bill, also known as Bollicky or Rollicking Bill, is a comic folktype who is the main protagonist in the most persistent narrative folk song with a seamen's image. Although a few studies have ...
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Barnacle Bill, also known as Bollicky or Rollicking Bill, is a comic folktype who is the main protagonist in the most persistent narrative folk song with a seamen's image. Although a few studies have raised questions about his origins in British tradition, this practice-centered study evaluates his persistence in twenty-first centuryadolescent male groups and the feminist response. This chapter finds the song to be significant in a discourse on gendered coming-of-age issues.Less
Barnacle Bill, also known as Bollicky or Rollicking Bill, is a comic folktype who is the main protagonist in the most persistent narrative folk song with a seamen's image. Although a few studies have raised questions about his origins in British tradition, this practice-centered study evaluates his persistence in twenty-first centuryadolescent male groups and the feminist response. This chapter finds the song to be significant in a discourse on gendered coming-of-age issues.
John Minton
- Published in print:
- 2008
- Published Online:
- March 2014
- ISBN:
- 9781934110195
- eISBN:
- 9781604733273
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781934110195.003.0001
- Subject:
- Music, History, American
This chapter sets out the book’s purpose, which is to explore how Southerners during the period between the mid-1920s and World War II thought about folksongs and phonograph records, and how oral ...
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This chapter sets out the book’s purpose, which is to explore how Southerners during the period between the mid-1920s and World War II thought about folksongs and phonograph records, and how oral tradition bearers navigated a mass medium. How did people accustomed to communicating musically in face-to-face settings learn to interact with an electronic medium and, through it, with one another? How did such a community experience records as musical events, comparable, say, to a mother lulling a child to sleep or a noisy house party?Less
This chapter sets out the book’s purpose, which is to explore how Southerners during the period between the mid-1920s and World War II thought about folksongs and phonograph records, and how oral tradition bearers navigated a mass medium. How did people accustomed to communicating musically in face-to-face settings learn to interact with an electronic medium and, through it, with one another? How did such a community experience records as musical events, comparable, say, to a mother lulling a child to sleep or a noisy house party?
John Minton
- Published in print:
- 2008
- Published Online:
- March 2014
- ISBN:
- 9781934110195
- eISBN:
- 9781604733273
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781934110195.003.0002
- Subject:
- Music, History, American
This chapter argues that Southerners often experienced old-time records in the moment as folksong performances, as familiar social occasions—or at least as close kin. It also suggests that ...
More
This chapter argues that Southerners often experienced old-time records in the moment as folksong performances, as familiar social occasions—or at least as close kin. It also suggests that perceptions of electronic media are culture-specific and cross-culturally variable—as much so as oral or written communication—and that any culture’s rules for understanding electronic media may rise to the level of its other means of expression, oral, written, or otherwise. In other words, just as people must learn to use speech or writing as part of their basic enculturation, they learn to communicate through records or radio as culturally defined media.Less
This chapter argues that Southerners often experienced old-time records in the moment as folksong performances, as familiar social occasions—or at least as close kin. It also suggests that perceptions of electronic media are culture-specific and cross-culturally variable—as much so as oral or written communication—and that any culture’s rules for understanding electronic media may rise to the level of its other means of expression, oral, written, or otherwise. In other words, just as people must learn to use speech or writing as part of their basic enculturation, they learn to communicate through records or radio as culturally defined media.
John Minton
- Published in print:
- 2008
- Published Online:
- March 2014
- ISBN:
- 9781934110195
- eISBN:
- 9781604733273
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781934110195.003.0003
- Subject:
- Music, History, American
This chapter analyzes how Southerners experienced old-time records as musical events, especially compared to the folksongs that previously defined their musical lives. To address this question, ...
More
This chapter analyzes how Southerners experienced old-time records as musical events, especially compared to the folksongs that previously defined their musical lives. To address this question, recording artists consistently envisioned four major possibilities, alternately framing records as: (1) remote, stylized depictions of live music-making; (2) bona fide folksong performances in their own right; (3) self-contained musical events on a par with, yet distinct from, live performances; or (4) logical contradictions, whose relations to live music-making presented out-and-out paradoxes.Less
This chapter analyzes how Southerners experienced old-time records as musical events, especially compared to the folksongs that previously defined their musical lives. To address this question, recording artists consistently envisioned four major possibilities, alternately framing records as: (1) remote, stylized depictions of live music-making; (2) bona fide folksong performances in their own right; (3) self-contained musical events on a par with, yet distinct from, live performances; or (4) logical contradictions, whose relations to live music-making presented out-and-out paradoxes.
