folk song u. s. a.; the hundred and eleven best american balladsby john a. lomax; alan lomax;...
TRANSCRIPT
Folk Song U. S. A.; The Hundred and Eleven Best American Ballads by John A. Lomax; AlanLomax; Charles Seeger; Ruth Crawford SeegerReview by: George Pullen JacksonNotes, Second Series, Vol. 5, No. 3 (Jun., 1948), pp. 377-378Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/890452 .
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Concerto. It was therefore only natural that the RCA Victor Company should turn to Mr. Veinus for the present volume upon discovering that "of all forms of music performed at concerts the con- certo is the most popular with American audiences" (Publisher's Preface).
The volume consists of analytical essays, a la program notes, on 130 concertos by 52 different composers. As would be expected, the concertos are drawn ex- clusively from the Victor catalog. One must therefore take with certain reser- vations the jacket's claim that the book is "A comprehensive guide to all music for solo instruments and orchestra from Bach to Khatchatourian." Despite sig- nificant gaps, the list is admittedly im- pressive. The essays themselves vary in length from one to eight pages, and usually break up into two sections, the first giving historical background and the second providing technical analysis in more or less detail, with or without musical examples. In search of 130 ways of saying the same thing, Mr. Veinus
Concerto. It was therefore only natural that the RCA Victor Company should turn to Mr. Veinus for the present volume upon discovering that "of all forms of music performed at concerts the con- certo is the most popular with American audiences" (Publisher's Preface).
The volume consists of analytical essays, a la program notes, on 130 concertos by 52 different composers. As would be expected, the concertos are drawn ex- clusively from the Victor catalog. One must therefore take with certain reser- vations the jacket's claim that the book is "A comprehensive guide to all music for solo instruments and orchestra from Bach to Khatchatourian." Despite sig- nificant gaps, the list is admittedly im- pressive. The essays themselves vary in length from one to eight pages, and usually break up into two sections, the first giving historical background and the second providing technical analysis in more or less detail, with or without musical examples. In search of 130 ways of saying the same thing, Mr. Veinus
sometimes comes close to straining his fancy; in Dohnanyi's Variations on a Nursery Tune, for example, the "brass bewail themselves," "horns lugubriously intone," "a bassoon counterpoint heckles the piano," and there is "a ponderous passacaglia" as well as "a deliciously cheerful fugue."
It seems to this reviewer that the book falls unhappily between two main groups of readers, in spite of a statement that the author has "not presumed that his reader is necessarily a trained musician; but neither has he presumed, on the other hand, that he is an intellectual baby." That is all very well; but the many musical examples are lost on the layman who cannot read music, while the essays themselves are too elementary for the trained musician. There is indeed much useful information in the book for those who do not wish to go to the orig- inal sources, but it can hardly be rated a "must."
LEE FAIRLEY
sometimes comes close to straining his fancy; in Dohnanyi's Variations on a Nursery Tune, for example, the "brass bewail themselves," "horns lugubriously intone," "a bassoon counterpoint heckles the piano," and there is "a ponderous passacaglia" as well as "a deliciously cheerful fugue."
It seems to this reviewer that the book falls unhappily between two main groups of readers, in spite of a statement that the author has "not presumed that his reader is necessarily a trained musician; but neither has he presumed, on the other hand, that he is an intellectual baby." That is all very well; but the many musical examples are lost on the layman who cannot read music, while the essays themselves are too elementary for the trained musician. There is indeed much useful information in the book for those who do not wish to go to the orig- inal sources, but it can hardly be rated a "must."
LEE FAIRLEY
Folk Song U. S. A.; the Hundred and Eleven Best American Ballads. Collected, Adapted and Arranged by John A. Lomax and Alan Lomax; Alan Lomax, Editor; Charles Seeger and Ruth Crawford Seeger, Music Editors. New York: Duell, Sloan and Pearce, 1948. [xvi, 407 pp.; $6.00]
There is, nowadays, quite a rivulet of it tells about reveal the book's one point American folk song books flowing to the of imbalance: an overemphasis on the singers grouped around the piano or Negroes' racial contributions to American guitar player. Many of the compilations folk music. When the editor asserts that contain some background information '".. . the folk from the British Isles and which, along with the songs themselves, the folk from the west coast of Africa can relieve the dense and widespread have pooled their tunes, their rhythmic ignorance of the public about such music. patterns and their song styles," he makes
This latest Lomax book does-or can do perfectly clear his conviction that the re- -just that. The songs are without doubt suiting body of song is six of one and half among the best if not (as the subtitle a dozen of the other-that American folk claims) the best we have, and to every song is actually mulatto, a synthesis of three pages of song there is an average of what he calls elsewhere "two rich folk one full page telling how and where and cultures." I differ radically with Mr. among whom the ballads grew. This is Lomax, but I grant that he has here made Alan Lomax's part of the work and it is one of the strongest pleas yet printed for excellently done. Sometimes his comments his point of view. grow into sizeable essays, as in his intro- The names of Charles and Ruth Seeger duction to the chapter on religious folk on the title page as music editors are all songs. that is needed to assure one that the very
This introductory essay and the songs important musical portion of this collec-
377
Folk Song U. S. A.; the Hundred and Eleven Best American Ballads. Collected, Adapted and Arranged by John A. Lomax and Alan Lomax; Alan Lomax, Editor; Charles Seeger and Ruth Crawford Seeger, Music Editors. New York: Duell, Sloan and Pearce, 1948. [xvi, 407 pp.; $6.00]
There is, nowadays, quite a rivulet of it tells about reveal the book's one point American folk song books flowing to the of imbalance: an overemphasis on the singers grouped around the piano or Negroes' racial contributions to American guitar player. Many of the compilations folk music. When the editor asserts that contain some background information '".. . the folk from the British Isles and which, along with the songs themselves, the folk from the west coast of Africa can relieve the dense and widespread have pooled their tunes, their rhythmic ignorance of the public about such music. patterns and their song styles," he makes
This latest Lomax book does-or can do perfectly clear his conviction that the re- -just that. The songs are without doubt suiting body of song is six of one and half among the best if not (as the subtitle a dozen of the other-that American folk claims) the best we have, and to every song is actually mulatto, a synthesis of three pages of song there is an average of what he calls elsewhere "two rich folk one full page telling how and where and cultures." I differ radically with Mr. among whom the ballads grew. This is Lomax, but I grant that he has here made Alan Lomax's part of the work and it is one of the strongest pleas yet printed for excellently done. Sometimes his comments his point of view. grow into sizeable essays, as in his intro- The names of Charles and Ruth Seeger duction to the chapter on religious folk on the title page as music editors are all songs. that is needed to assure one that the very
This introductory essay and the songs important musical portion of this collec-
377
This content downloaded from 128.235.251.160 on Mon, 22 Dec 2014 20:33:52 PMAll use subject to JSTOR Terms and Conditions
tion is 100% adequate. Other arrangers of similar material may study with profit their Musical Foreword. With American folk song surging upward into the realm
tion is 100% adequate. Other arrangers of similar material may study with profit their Musical Foreword. With American folk song surging upward into the realm
tion is 100% adequate. Other arrangers of similar material may study with profit their Musical Foreword. With American folk song surging upward into the realm
of popular favor-even enthusiasm-it is reassuring to see that the movement is led by such as the Lomaxes and Seegers, for theirs is able leadership.
GEORGE PULLEN JACKSON
of popular favor-even enthusiasm-it is reassuring to see that the movement is led by such as the Lomaxes and Seegers, for theirs is able leadership.
GEORGE PULLEN JACKSON
of popular favor-even enthusiasm-it is reassuring to see that the movement is led by such as the Lomaxes and Seegers, for theirs is able leadership.
GEORGE PULLEN JACKSON
The People's Song Book. Edited by Waldemar Hille. Foreword by Alan Lomax. Preface by B. A. Botkin. New York: Boni & Gaer, 1948. [vi, 128 pp.; paper, $1.00; cloth, $2.50]
The People's Song Book. Edited by Waldemar Hille. Foreword by Alan Lomax. Preface by B. A. Botkin. New York: Boni & Gaer, 1948. [vi, 128 pp.; paper, $1.00; cloth, $2.50]
The People's Song Book. Edited by Waldemar Hille. Foreword by Alan Lomax. Preface by B. A. Botkin. New York: Boni & Gaer, 1948. [vi, 128 pp.; paper, $1.00; cloth, $2.50]
The title of this book accurately de- scribes its contents, while the nature of the songs themselves may be gleaned from the four group headings: (1) songs that helped build America; (2) world freedom songs; (3) union songs; and (4) topical-political songs.
Mingling with well-known traditional American folk songs and ballads, sea chanteys, Negro spirituals, and work songs (in Part 1) are La Marseillaise and The Star Spangled Banner ("one of America's first revolutionary songs") and a number of flaming songs sung by the Spanish Re- publican fighters and by the partisans of several nations (in Part 2).
All the songs in this unique collection share in common a protest against the status quo, now or yesterday, in the United States or abroad-a concentration that packs a powerful punch. It is obvious that social significance-suitability to the overall plan of protest-governed the editor's selections. This is not necessarily a reflection on his judgment, as he has done a good job of editing within the task he set for himself.
It is in Parts 3 and 4 that we reach the core of the collection. These are "the
people's songs," as the term is used today. They were collected by a mass-singing organization called "People's Songs, Inc.,"
The title of this book accurately de- scribes its contents, while the nature of the songs themselves may be gleaned from the four group headings: (1) songs that helped build America; (2) world freedom songs; (3) union songs; and (4) topical-political songs.
Mingling with well-known traditional American folk songs and ballads, sea chanteys, Negro spirituals, and work songs (in Part 1) are La Marseillaise and The Star Spangled Banner ("one of America's first revolutionary songs") and a number of flaming songs sung by the Spanish Re- publican fighters and by the partisans of several nations (in Part 2).
All the songs in this unique collection share in common a protest against the status quo, now or yesterday, in the United States or abroad-a concentration that packs a powerful punch. It is obvious that social significance-suitability to the overall plan of protest-governed the editor's selections. This is not necessarily a reflection on his judgment, as he has done a good job of editing within the task he set for himself.
It is in Parts 3 and 4 that we reach the core of the collection. These are "the
people's songs," as the term is used today. They were collected by a mass-singing organization called "People's Songs, Inc.,"
The title of this book accurately de- scribes its contents, while the nature of the songs themselves may be gleaned from the four group headings: (1) songs that helped build America; (2) world freedom songs; (3) union songs; and (4) topical-political songs.
Mingling with well-known traditional American folk songs and ballads, sea chanteys, Negro spirituals, and work songs (in Part 1) are La Marseillaise and The Star Spangled Banner ("one of America's first revolutionary songs") and a number of flaming songs sung by the Spanish Re- publican fighters and by the partisans of several nations (in Part 2).
All the songs in this unique collection share in common a protest against the status quo, now or yesterday, in the United States or abroad-a concentration that packs a powerful punch. It is obvious that social significance-suitability to the overall plan of protest-governed the editor's selections. This is not necessarily a reflection on his judgment, as he has done a good job of editing within the task he set for himself.
It is in Parts 3 and 4 that we reach the core of the collection. These are "the
people's songs," as the term is used today. They were collected by a mass-singing organization called "People's Songs, Inc.,"
whose singers and song writers are scat- tered across the country. Borrowing tra- ditional tunes and metrical patterns and often using a folk idiom, these songs re- flect the singers' critical attitude toward current events and public figures. The slant generally is that of the left wing of organized labor and minority groups. Vulnerable characters such as Jim Crow and Bilbo are impaled upon musical pikes, as are capitalists, politicians, and "bosses."
People's songs, the output of workers in an urban environment, are written for mass-singing and mass-action on the picket-line and at workers' meetings, espe- cially in time of strikes. The purpose of this book, therefore, is to harmonize the simple tunes for group singing. In this objective, the editor and his arrangers have generally been successful. The ac- companiments are simple, although not especially pianistic. A variety of keys have been used to accommodate the aver- age voice range. Guitar chords are indi- cated on all the songs, and a simple chord chart in the back of the book clearly explains symbols and fingering for guitar. The headnotes give mood and tempo and other useful aids to performance. The book is well-designed and the printing clear.
GEORGE KORSON
whose singers and song writers are scat- tered across the country. Borrowing tra- ditional tunes and metrical patterns and often using a folk idiom, these songs re- flect the singers' critical attitude toward current events and public figures. The slant generally is that of the left wing of organized labor and minority groups. Vulnerable characters such as Jim Crow and Bilbo are impaled upon musical pikes, as are capitalists, politicians, and "bosses."
People's songs, the output of workers in an urban environment, are written for mass-singing and mass-action on the picket-line and at workers' meetings, espe- cially in time of strikes. The purpose of this book, therefore, is to harmonize the simple tunes for group singing. In this objective, the editor and his arrangers have generally been successful. The ac- companiments are simple, although not especially pianistic. A variety of keys have been used to accommodate the aver- age voice range. Guitar chords are indi- cated on all the songs, and a simple chord chart in the back of the book clearly explains symbols and fingering for guitar. The headnotes give mood and tempo and other useful aids to performance. The book is well-designed and the printing clear.
GEORGE KORSON
whose singers and song writers are scat- tered across the country. Borrowing tra- ditional tunes and metrical patterns and often using a folk idiom, these songs re- flect the singers' critical attitude toward current events and public figures. The slant generally is that of the left wing of organized labor and minority groups. Vulnerable characters such as Jim Crow and Bilbo are impaled upon musical pikes, as are capitalists, politicians, and "bosses."
People's songs, the output of workers in an urban environment, are written for mass-singing and mass-action on the picket-line and at workers' meetings, espe- cially in time of strikes. The purpose of this book, therefore, is to harmonize the simple tunes for group singing. In this objective, the editor and his arrangers have generally been successful. The ac- companiments are simple, although not especially pianistic. A variety of keys have been used to accommodate the aver- age voice range. Guitar chords are indi- cated on all the songs, and a simple chord chart in the back of the book clearly explains symbols and fingering for guitar. The headnotes give mood and tempo and other useful aids to performance. The book is well-designed and the printing clear.
GEORGE KORSON
The Modern British Organ. By Noel A. Bonavia-Hunt. London: A. Weekes and Company, 1947. [xii, 267 p.; 30/.]
For over fifty years, Rev. Bonavia-Hunt reminds one of a patient master explaining has been enthusiastically engaged in one matters to an apprentice. His constant of the few remaining medieval crafts- references to the organ as the "King of the designing and construction of organ Instruments" and to the "voices" of the pipes. In this book he has recorded his pipes do not give so much the impression opinions, experiences, and advice in a per- of sentimentality as of jealous devotion. sonal and not over-technical style, which He was intimately acquainted with most
378
The Modern British Organ. By Noel A. Bonavia-Hunt. London: A. Weekes and Company, 1947. [xii, 267 p.; 30/.]
For over fifty years, Rev. Bonavia-Hunt reminds one of a patient master explaining has been enthusiastically engaged in one matters to an apprentice. His constant of the few remaining medieval crafts- references to the organ as the "King of the designing and construction of organ Instruments" and to the "voices" of the pipes. In this book he has recorded his pipes do not give so much the impression opinions, experiences, and advice in a per- of sentimentality as of jealous devotion. sonal and not over-technical style, which He was intimately acquainted with most
378
The Modern British Organ. By Noel A. Bonavia-Hunt. London: A. Weekes and Company, 1947. [xii, 267 p.; 30/.]
For over fifty years, Rev. Bonavia-Hunt reminds one of a patient master explaining has been enthusiastically engaged in one matters to an apprentice. His constant of the few remaining medieval crafts- references to the organ as the "King of the designing and construction of organ Instruments" and to the "voices" of the pipes. In this book he has recorded his pipes do not give so much the impression opinions, experiences, and advice in a per- of sentimentality as of jealous devotion. sonal and not over-technical style, which He was intimately acquainted with most
378
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