folk songs of peggy seeger: 88 traditional ballads and songsby peggy seeger
TRANSCRIPT
Folk Songs of Peggy Seeger: 88 Traditional Ballads and Songs by Peggy SeegerReview by: Dena J. EpsteinNotes, Second Series, Vol. 22, No. 1 (Autumn, 1965), p. 809Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/894432 .
Accessed: 16/06/2014 01:13
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp
.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].
.
Music Library Association is collaborating with JSTOR to digitize, preserve and extend access to Notes.
http://www.jstor.org
This content downloaded from 62.122.73.250 on Mon, 16 Jun 2014 01:13:15 AMAll use subject to JSTOR Terms and Conditions
reference appear in Dutch and English. once prompted Berlioz to exclaim about The numerous vocal texts in Dutch have Hungarian: "a wonderful language, but remained untranslated. Needless to say, one that no one understands . . . unless when it comes to Dutch most Americans he learns it." face the same kind of dilemma which ALEXANDER L. RINGER
Peggy Seeger, compiler: Folk Songs of Peggy Seeger: 88 Traditional Ballads and Songs. Photographs by David Gahr. New York: Oak Pub- lications, 1964. [96 p., illus.; $1.95]
reference appear in Dutch and English. once prompted Berlioz to exclaim about The numerous vocal texts in Dutch have Hungarian: "a wonderful language, but remained untranslated. Needless to say, one that no one understands . . . unless when it comes to Dutch most Americans he learns it." face the same kind of dilemma which ALEXANDER L. RINGER
Peggy Seeger, compiler: Folk Songs of Peggy Seeger: 88 Traditional Ballads and Songs. Photographs by David Gahr. New York: Oak Pub- lications, 1964. [96 p., illus.; $1.95]
reference appear in Dutch and English. once prompted Berlioz to exclaim about The numerous vocal texts in Dutch have Hungarian: "a wonderful language, but remained untranslated. Needless to say, one that no one understands . . . unless when it comes to Dutch most Americans he learns it." face the same kind of dilemma which ALEXANDER L. RINGER
Peggy Seeger, compiler: Folk Songs of Peggy Seeger: 88 Traditional Ballads and Songs. Photographs by David Gahr. New York: Oak Pub- lications, 1964. [96 p., illus.; $1.95]
Like so many other collections, this is a highly personal selection of folk songs, British and American, but it is by no means just another songbook. Only a few old favories are among the well- chosen songs, which range from a finger- counting game for children through Child ballads to a wonderfully rhapsodic version of "Johnny Sands," as sung by a Negro convict ("Rich Old Lady," p. 70). Melo- dies and words are given, with guitar chord symbols, except for those songs Miss Seeger prefers without accompani- ment, such as "Jane, Jane" (p. 37) and "Lowlands of Holland" (p. 50).
Miss Seeger's presentation of the songs is both modest and knowledgeable. Un- like some folk singers, she does not re- gard the songs as her personal property, nor her sources as secrets to be care- fully kept from others in the trade. She acknowledges her indebtedness to others, whom she scrupulously identifies. Like less sophisticated folk singers, she seems to see herself as a link in a chain, trans- mitting what she has learned from those who went before to those who will follow.
But having put together a good collec- tion, she does more, providing unusually historical and bibliographical garnishes. Each song is preceded by a historical note, ranging from rather learned dis- cussions to a terse "source not remem-
Like so many other collections, this is a highly personal selection of folk songs, British and American, but it is by no means just another songbook. Only a few old favories are among the well- chosen songs, which range from a finger- counting game for children through Child ballads to a wonderfully rhapsodic version of "Johnny Sands," as sung by a Negro convict ("Rich Old Lady," p. 70). Melo- dies and words are given, with guitar chord symbols, except for those songs Miss Seeger prefers without accompani- ment, such as "Jane, Jane" (p. 37) and "Lowlands of Holland" (p. 50).
Miss Seeger's presentation of the songs is both modest and knowledgeable. Un- like some folk singers, she does not re- gard the songs as her personal property, nor her sources as secrets to be care- fully kept from others in the trade. She acknowledges her indebtedness to others, whom she scrupulously identifies. Like less sophisticated folk singers, she seems to see herself as a link in a chain, trans- mitting what she has learned from those who went before to those who will follow.
But having put together a good collec- tion, she does more, providing unusually historical and bibliographical garnishes. Each song is preceded by a historical note, ranging from rather learned dis- cussions to a terse "source not remem-
Like so many other collections, this is a highly personal selection of folk songs, British and American, but it is by no means just another songbook. Only a few old favories are among the well- chosen songs, which range from a finger- counting game for children through Child ballads to a wonderfully rhapsodic version of "Johnny Sands," as sung by a Negro convict ("Rich Old Lady," p. 70). Melo- dies and words are given, with guitar chord symbols, except for those songs Miss Seeger prefers without accompani- ment, such as "Jane, Jane" (p. 37) and "Lowlands of Holland" (p. 50).
Miss Seeger's presentation of the songs is both modest and knowledgeable. Un- like some folk singers, she does not re- gard the songs as her personal property, nor her sources as secrets to be care- fully kept from others in the trade. She acknowledges her indebtedness to others, whom she scrupulously identifies. Like less sophisticated folk singers, she seems to see herself as a link in a chain, trans- mitting what she has learned from those who went before to those who will follow.
But having put together a good collec- tion, she does more, providing unusually historical and bibliographical garnishes. Each song is preceded by a historical note, ranging from rather learned dis- cussions to a terse "source not remem-
bered" (p. 91). "Sources and Record- ings" are given on p. 93-94, followed on p. 95 by a bibliography and discography. Somehow, however, three songs were lost. "I Just Stopped By," "Lula Gal" and "Meet Me Tonight" are listed in "Sources and Recordings" but do not appear in the book, which includes only 85 songs.
Peggy Seeger's respect and sympathy for her songs is most engaging. Knowing how folk songs grow, fragment, and re-combine, she does not try to set a definitive text. "If I sang 'The House Carpenter' yesterday in one way, I will sing it today slightly differently, for time has passed and my understanding of the song or the situation it describes has shifted perspective just that little bit." (p. 5). Having no conscientious scruples against collating a number of different versions of a song, combining the best parts of each, she candidly describes what she has done. For the "Lass of Roch Royal," ". .. as I found no melo- dies capable of carrying the intensity of the story I assembled one myself." (p. 44)
Despite the objections of the purists, this book demonstrates that it is possible for a "city" folk singer to enter the realm of folk music, preserving its style, its values, and its integrity.
DENA J. EPSTEIN
bered" (p. 91). "Sources and Record- ings" are given on p. 93-94, followed on p. 95 by a bibliography and discography. Somehow, however, three songs were lost. "I Just Stopped By," "Lula Gal" and "Meet Me Tonight" are listed in "Sources and Recordings" but do not appear in the book, which includes only 85 songs.
Peggy Seeger's respect and sympathy for her songs is most engaging. Knowing how folk songs grow, fragment, and re-combine, she does not try to set a definitive text. "If I sang 'The House Carpenter' yesterday in one way, I will sing it today slightly differently, for time has passed and my understanding of the song or the situation it describes has shifted perspective just that little bit." (p. 5). Having no conscientious scruples against collating a number of different versions of a song, combining the best parts of each, she candidly describes what she has done. For the "Lass of Roch Royal," ". .. as I found no melo- dies capable of carrying the intensity of the story I assembled one myself." (p. 44)
Despite the objections of the purists, this book demonstrates that it is possible for a "city" folk singer to enter the realm of folk music, preserving its style, its values, and its integrity.
DENA J. EPSTEIN
bered" (p. 91). "Sources and Record- ings" are given on p. 93-94, followed on p. 95 by a bibliography and discography. Somehow, however, three songs were lost. "I Just Stopped By," "Lula Gal" and "Meet Me Tonight" are listed in "Sources and Recordings" but do not appear in the book, which includes only 85 songs.
Peggy Seeger's respect and sympathy for her songs is most engaging. Knowing how folk songs grow, fragment, and re-combine, she does not try to set a definitive text. "If I sang 'The House Carpenter' yesterday in one way, I will sing it today slightly differently, for time has passed and my understanding of the song or the situation it describes has shifted perspective just that little bit." (p. 5). Having no conscientious scruples against collating a number of different versions of a song, combining the best parts of each, she candidly describes what she has done. For the "Lass of Roch Royal," ". .. as I found no melo- dies capable of carrying the intensity of the story I assembled one myself." (p. 44)
Despite the objections of the purists, this book demonstrates that it is possible for a "city" folk singer to enter the realm of folk music, preserving its style, its values, and its integrity.
DENA J. EPSTEIN
CHAMBER MUSIC CHAMBER MUSIC CHAMBER MUSIC
Gregor Joseph Werner: Sechs Fugen fur Streichquartett. Ed. by Walter Hockner. (P. E., 6044.) Wilhelms- haven: Heinrichshofen; U. S. A.: C. F. Peters, New York, 1963 [Pts. $3.00]
Gregor Joseph Werner: Sechs Fugen fur Streichquartett. Ed. by Walter Hockner. (P. E., 6044.) Wilhelms- haven: Heinrichshofen; U. S. A.: C. F. Peters, New York, 1963 [Pts. $3.00]
Gregor Joseph Werner: Sechs Fugen fur Streichquartett. Ed. by Walter Hockner. (P. E., 6044.) Wilhelms- haven: Heinrichshofen; U. S. A.: C. F. Peters, New York, 1963 [Pts. $3.00]
Wenzel Pichl: Quartet for 2 Violins, Viola, and Cello, Op. 2, No. 4. [Ed. by Walter H6ckner and Hans Blun- arczyk. (N, 6043.) Wilhelmshaven: Heinrichshofen; U. S. A.: C. F. Peters, New York, 1963. [Pts., $3.00]
Wenzel Pichl: Quartet for 2 Violins, Viola, and Cello, Op. 2, No. 4. [Ed. by Walter H6ckner and Hans Blun- arczyk. (N, 6043.) Wilhelmshaven: Heinrichshofen; U. S. A.: C. F. Peters, New York, 1963. [Pts., $3.00]
Wenzel Pichl: Quartet for 2 Violins, Viola, and Cello, Op. 2, No. 4. [Ed. by Walter H6ckner and Hans Blun- arczyk. (N, 6043.) Wilhelmshaven: Heinrichshofen; U. S. A.: C. F. Peters, New York, 1963. [Pts., $3.00]
809 809 809
This content downloaded from 62.122.73.250 on Mon, 16 Jun 2014 01:13:15 AMAll use subject to JSTOR Terms and Conditions