Just a quick reflection, today.
Working on my final chapter, I encountered a composer about whom I knew comparatively little. However, when I discovered he was friendly with one of Scotland’s significant 20th century poets; that the two of them had corresponded extensively; and that the composer set lyrics written by the poet, I thought I ought to know more about both men. I consulted the Oxford Dictionary of Biography. On Amazon, I ordered a poem considered one of the poet’s greatest works. At work, I borrowed a score and a textbook. I also sent out an email, basically asking (in more scholarly terms), ‘is this composer any good?’ (And ‘would you put his songs in your music case, if you were filling it with your favourite repertoire?’)
The outcome was very interesting. I was directed to a singing tutor and a student who had worked on this repertoire. Both sang the composer’s praises – indeed they were enthusiastically generous in their praise.
I also had a response from a traditional music expert: their assessment was quite the reverse. Indeed, it reminded me of what happens when I introduce the songs of Marjory Kennedy Fraser to traditional music students. Looks mingling caution, boredom and blank incomprehension, steal over faces that were only minutes before quite animated and interested.
I’m a musicologist from the classical music tradition, working with supposedly ‘traditional’ folk song collections. Well, commercial collections of ‘traditional’ national songs. I really am stuck in the middle! It’s an interesting place to be.
Karen McAulay, Musicologist 