Oral Transmission of Folk Songs

Posted on by Dr Karen E McAulay
Wavy lines of music and an artistic interpretation of a fiddle

Attribution and Authorship

When I’m talking to students about oral transmission of folk songs, my take is – perhaps a bit controversially – that I believe a lot of songs were actually written by ONE person. Passed on, passed around, changed certainly, but I don’t buy the idea that they somehow ‘grew’ anonymously or collectively out of the soil. Maybe a group of pals did sometimes sit in the pub, stand in the fields or sit at their looms working up words or a tune, but as often as not, someone ‘wrote’ or devised that song. We just don’t always know who did.

Tune Variants

The other problem, of course, is variants. If you pass things round and they get picked up by ear, or someone writes it down – but not exactly how it was performed by the last person – the tunes change slightly. Or, in times-gone-by, gaps between crotchets got filled in by two stepwise quavers, or an ornament got written out in full. And how do you determine what the ‘right’ version is? I don’t think you can, often enough, though you can certainly try to identify the most common form of a tune.  Or if you’re able to, the earliest printed version. (If Hamish McHamish wrote a song in 1825, then the earliest printed version is most likely to be closest to his intentions. But unless he took his tune to the printer, or published it himself, you can’t be sure. )

The Ravages of Time

So we have at least a couple of centuries in which some tunes had the opportunity to change a multitude of times. (And that’s before an accompanist decided that G7 would be better than E minor at a particular point …) Try and compare a song in three different published collections. It won’t necessarily be exactly the same.

The Strong but Wrong Singer

I also use the modern-day example of my own church organist experience. You teach the congregation a new tune. A strong singer gets something wrong, and thereafter, try as you may, everyone sings Jemima’s version of the tune. That, too, could be construed as oral transmission in action!

(And as for Technology)

Today, we had a new song. The choir had studiously learned it, syncopated rhythms and all. We sang it first as an anthem. Later, we sang it with the congregation. Even the syncopations went moderately well, though I can’t say I was listening out for those who, ‘like sheep had gone astray’ (to quote Handel’s Messiah). There was only one problem: the verses appeared on the PowerPoint in the wrong order, and there was not a thing could be done about it once we’d started. When the choir sang it with the congregation, the latter sang what they could, or what they saw on the screen …. ! Maybe that’s why the syncopations went well – not everyone was actually singing.

All I can do is offer a corrected version of the lyrics for the PowerPoint, and we’ll try again another day. Who knows what might have changed in the meantime?

A Non-Research Event

Posted on by Dr Karen E McAulay

Remember un-conferences? They were popular a few years ago.

Well, now I’m co-ordinating a Scottish song event, but it’s for entertainment, and not remotely connected with my research. Does that make it an ‘un-research’ event? Anything I might say about these songs will have been learned during my research career.  (I  grew up in England – it wasn’t my childhood repertoire.) 

Community Singing

It’s interesting, all the same.  For a start, I am interested in community singing in an early-twentieth-century sense, but my own practical experience of secular community singing is limited. The forthcoming gig may well trigger new trains of thought. (Let’s discount leading congregational singing from the organ, which I’ve done for decades.)

Repertoire

The preparation has been interesting, too. We have collectively chosen the repertoire: some old, some from the 1950s and 60s, and some that our children would have learnt at school.  It bears out my findings that the repertoire of favourite Scottish songs does change with every generation. 

We’re also channelling Sir Hugh Roberton and his Orpheus Singers for a couple of choral items, but an even earlier choral arrangement felt too dated.  You have to know about the west of Scotland’s intimate acquaintance with Roberton’s repertoire to appreciate why those settings go down so well to this day.  Somehow, his particular brand of close SATB singing has endured in a nostalgic kind of way, where earlier settings have fallen by the wayside.

Authenticity

It gets better.  We’ve debated different versions of the lyrics, and odd discrepancies in tunes.  In other words, we re-enacted all the chatter about authenticity and correct versions that has been rolling on for, shall we say, 250 years or more?

And the Squeezeboxes?

Accordion

I debated with myself whether to go all authentic with an accordion accompaniment in appropriate songs, but I don’t think I’m that brave.  Singing a solo is brave. A couple of concertina tunes is positively reckless. But the accordion is probably getting left at home. (Although, if you listen carefully between now and then, you might catch me attempting a few strains of ‘The Song of the Clyde’ in private … Jimmy Shand I’m certainly not!)

This is a new adventure for me.  More anon.

A Gift Idea? A Social History of Amateur Music-Making

Posted on by Dr Karen E McAulay

Stumped for a present for your Scottish music enthusiast? My new book is affordable as an e-book! (Just sayin’ …)

A Social History of Amateur Music-Making and Scottish National Identity: Scotland’s Printed Music 1880-1951

Why did Scottish music publishers produce so many songbooks and dance tunes? Who took Scottish music overseas to the diaspora? How did classical composers interact with local publishers?

I’ve discussed all this and more. Full details on the publisher’s page, link above.

Most Memorable Scottish Songs Today (Library Perspective!)

Posted on by Dr Karen E McAulay

Preparing for my Good Morning Scotland interview the other day, as I mentioned, I drew up something halfway between a mind-map and a spreadsheet to clarify in my mind how old the songs were, and who they were associated with. I had also – ever the librarian – looked up which of the Whittaker Library songbooks actually contained the songs in question. I wasn’t looking for every copy we had, just a rough overview. I thought you might be interested to see what our library patrons have access to. 

It is significant that there are only two genuinely old songs – the last two, by Sir Walter Scott and Robert Burns. Otherwise, they’re popular songs that are Scottish, but folksongs? Not exactly traditional or old, but certainly much beloved today. So, will there still be popular songs in fifty years’ time? Yes, of course – but maybe they haven’t even been written yet! 

Here is the list – in order of popularity – that Visit Scotland compiled from their recent survey:-

The Singing Kettle, book 2
  1. You cannae shove yer grannie aff a bus – it’s in Cilla Fisher and Artie Tresize’s second Singing Kettle music book (1989). Also in Ewan McVicar’s One Singer, one Song (1990) and his Scottish Songs for Younger Children (a words-only book, 2002); and in Traditional Folksongs and Ballads of Scotland Vol.3 (1994).
  2. Donald, where’s your Troosers? Sung by Calum Kennedy and published by our friends Mozart Allan in 1959, and by Andy Stewart, published by Kerr’s in 1960. We listened to Andy’s rendition at home last night – and it still makes us laugh.
  3. Coulter’s Candy – (hint: it’s pronounced ‘Cooters’) in Singing Kettle [book 1]; Katherine Campbell and Ewan McVicar’s Traditional Scottish Songs and Music (St Andrews: Leckie & Leckie, 2001); and Ewan McVicar’s Scottish Songs for Younger Children.
  4. Wee Willie Winkie – I know it, and we have it in the library, but not in the version I know!
  5. Skinny Malinky – in Wilma Paterson and Alasdair Gray’s Songs of Scotland (1996)
  6. Three Craws – in the second Singing Kettle book; and Jimmie McGregor’s Singing our Own (1970)
  7. The Jeely Piece Song – the library has Adam McNaughtan’s CD, The Words that I used to know (Greentrax, 2000). It’s also known as The Skyscraper Wean and can be found in Morag Henriksen and Barrie Carson Turner’s Sing Around Scotland (1985).
  8. Bonnie wee Jeannie McColl – first sung by Will Fyffe in 1929, and more recently by the Alexander Brothers, it appears in 100 Great Scottish Songs (Dublin: Soodlum,1986)
  9. An oldie: Walter Scott’s, Scots wha’ ha’e – it’s in many, many collections! I found it in Traditional Folksongs and Ballads of Scotland Vol.3; and Wilma Paterson’s Songs of Scotland.
  10. Another oldie; Robert Burns’s My heart’s in the Highlands. People probably know the version sung by Karine Polwart in 2001, and Fara in 2014. There are much earlier versions in printed books, of course, but I suspect not what today’s enthusiasts are looking for!

This is a YouTube link to Karine Polwart’s, ‘My heart’s in the Highlands.

Wilma Paterson’s Songs of Scotland, illustrated by Alasdair Gray
Traditional Folksongs & Ballads of Scotland Vol.3

Changing Styles

Posted on by Dr Karen E McAulay

In the closing pages of my second monograph (currently at the publishers, pending approval of the revisions and then copy-editing), I comment on the changing approaches to folk music in the late 1950s and 60s. So, when a colleague presented me with a pile of music which used to be in the library, but needed recataloguing (don’t ask!), my immediate reaction to this book was, ‘Aha, see, I was right. Look how different this is to Mozart Allan, James Kerr’s and Bayley & Ferguson’s folk song collections!’ 

As a scholar, I smiled with satisfaction as I noted that even the COVER of Folk Sing: A Handbook for Pickers and Singers was more modern – huge white letters on a half-black, half-red background. As for ‘pickers and singers’: well, we didn’t have ‘pickers’ in any of the dozens of Scottish publications that I’ve been writing about! Guitar/accordion chords as an addition, assuredly, but not usually melody, chords and no keyboard line. And as for the term, ‘pickers’? No. A more savvy friend informs me that the book came at the end of the skiffle revival, which according to Oxford Music Online was particularly strong in the UK:-

“While the skiffle revival of the 1950s embraced the USA and Germany, it gained most ground in Great Britain. […] Donegan and his imitators enjoyed considerable popularity until about 1959, when skiffle gave way, both in the USA and Europe, to ‘beat’ music and to rock and roll.”

Oxford Music Online (2001). Skiffle. Grove Music Online. Retrieved 19 Jan. 2024, from https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000025930.

This song book was published in New York by Hollis Music in 1959, but distributed by Essex Music (4 Denmark Street) in London, and this particular copy was actually sold from a shop in Aberdeen. Notwithstanding this, it mainly contains American repertoire with just a few British songs and a single French one for good measure.

I examined it inside-out and backwards, observing contentedly that they indicated the names of the composer/arranger/lyricist above each song, along with which publishers owned the original copyright.

Then I sighed. This morning I had noted with pleasure that already this month, I’ve submitted a revised manuscript for my book, written a librarianship-ish article and two musicology abstracts, done a peer-review and a radio interview, with a research talk coming up to round off the month. That was my research-self.

But what I was supposed to be doing now, was cataloguing this anthology, not studying it. 

‘Recataloguing’ means that I have already catalogued the book at some stage in the past … yawn!

The librarian part of me spent half this afternoon re-cataloguing it and copy-typing 150+ song titles from the contents list. It’s certainly useful – it means people will be able to find the songs – but it’s not nearly as rewarding!

Folk Sing: a Handbook for Pickers and Singers, containing traditional and contemporary folk songs / edited by Herbert Haufrecht (New York: Hollis Music; London: Essex Music, 1959)

Do note and admire the contents lists!