The Singing Tradition Of Child S Popular Ballads Abridgement

Francis James Child's English and Scottish Popular Ballads, published in ten parts from 1882 to 1898, contained the texts and variants of 305 extant themes written down between the thirteenth and nineteenth centuries. Unsurpassed in its presentation of texts, this exhaustive collection devoted little attention to the ballad music, a want that was filled by Bertrand Harris Bronson in his four volume Traditional Tunes of the Child Ballads. The present book is an abridged, one-volume edition of that work, setting forth music and text for proven examples of oral tradition, with a new comprehensive introduction. Its convenient format makes readily available to students and scholars the materials for a study of the Child ballads as they have been preserved in the British-American singing tradition. Originally published in 1977. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Francis James Child's English and Scottish Popular Ballads, published in ten parts from 1882 to 1898, contained the texts and variants of 305 extant themes written down between the thirteenth and nineteenth centuries. Unsurpassed in its presentation of texts, this exhaustive collection devoted little attention to the ballad music, a want that was filled by Bertrand Harris Bronson in his four volume Traditional Tunes of the Child Ballads. The present book is an abridged, one-volume edition of that work, setting forth music and text for proven examples of oral tradition, with a new comprehensive introduction. Its convenient format makes readily available to students and scholars the materials for a study of the Child ballads as they have been preserved in the British-American singing tradition. Originally published in 1977. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Traditional songs from the British Isles, each features guitar chord symbols and special tunings. Informative notes to each song, a discography and a bibliography.

“The spirit of balladry is not dead, but slowly dying. The instincts, sentiments, and feelings which it represents are indeed as immortal as romance itself, but their mode of expression, the folksong, is fighting with its back to the wall, with the odds against it in our introspective age.” This statement by Josiah Henry Combs is that of a man who grew up among the members of a singing family in one of the last strongholds of the ballad-making tradition, the Southern Highlands of the United States. Combs was born in 1886 in Hazard, Kentucky, the heart of the mountain feud area—a significant background for one who was to take a prominent part in the “ballad war” of the 1900s. Combs’s intimate knowledge of folk culture and his grasp of the scholarly literature enabled him to approach the ballad controversy with common sense as well as with some of the heat generated by the dispute. Although in the early twentieth century there was probably no more controversy about the nature of the folk and folksong than there is today, it was a different kind of controversy. Many theories of the origins of folksong current at that time, such as the alleged relationship of traditional ballads to “primitive poetry,” did not take into account contemporary evidence. Combs said, “Here as elsewhere, I go directly to the folk for much of my information, allowing the songs, language, names, customs . . . of the people to help settle the problem of ancestry. . . . In brief, a conscientious study of the lore of the folk cannot be separated from the folk itself.” Folk-Songs du Midi des États-Unis, published as a doctoral dissertation at the University of Paris in 1925, was an introduction to the study of the folksong of the Southern Appalachians, together with a selection of folksong texts collected by Combs. Folk-Songs of the Southern United States, the first publication of that work in English, is based on the French text and Combs’s English draft. To this edition is appended an annotated listing of all songs in the Josiah H. Combs Collection in the Western Kentucky Folklore Archive at the University of California, Los Angeles. The appendix also includes the texts of selected songs. The aim of this edition is to make the contents of the original volume more readily available in English and to provide an index to the Combs Collection that may be drawn upon by students of folksong. The book also offers texts of over fifty songs of British and American origin as sung in the Southern Highlands.

This volume makes available the full range of the American/Canadian musical experience, covering-for the first time in print-all major regions, ethnic groups, and traditional and popular contexts. From musical comedy to world beat, from the songs of the Arctic to rap and house music, from Hispanic Texas to the Chinese communities of Vancouver, the coverage captures the rich diversity and continuities of the vibrant music we hear around us. Special attention is paid to recent immigrant groups, to Native American traditions, and to such socio-musical topics as class, race, gender, religion, government policy, media, and technology.