British Forum for Ethnomusicology

Review: [untitled]
Author(s): Carole Pegg
Reviewed work(s):
The Radio Ballads by Ewan Maccoll ; Peggy Seeger ; Charles Parker
The Voice of the People: The Traditional Music of England, Ireland, Scotland and Wales by
Reg Hall
Bob Hart: A Broadside by Bob Hart
Cyril Poacher: Plenty of Thyme by Cyril Poacher
...
Source: British Journal of Ethnomusicology, Vol. 8 (1999), pp. 133-138
Published by: British Forum for Ethnomusicology
Stable URL: http://www.jstor.org/stable/3060860
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BRITISH JOURNAL OF ETHNOMUSICOLOGY VOL.8 1999 133 BRITISH JOURNAL OF ETHNOMUSICOLOGY VOL.8 1999 133
pedantic
to
expect
a title theme to be
explored
in
depth?
Here it is
certainly
not. Tarab is a
great
idea for a collection
of
essays,
but none of the nine articles on
painting
and cinema makes
any
reference
to it and nor do most other articles. In his
chapter
on trance
among
the Arabs in La
musique
et la transe
(1980/1990),
Gilbert
Rouget
concludes that secular trance
(tarab)
and
religious
trance
(wajd)
are
triggered
in the same
way, through
extreme
emotion, and he
suggests
that
tarab is more
closely
connected with
singing (and
the
impact
of
poetic texts)
than with instrumental music. These are
interesting questions.
One also wonders:
is tarab
applicable
to non-Arab Middle
Eastem cultures? What is the
relationship
between
improvisation
and tarab? As
must be
evident,
I am
grateful
for
stimulus this volume
provided.
Note: In this review we have followed
S. Zuhur's transliteration
system which
omits diacritics.
References
Danielson, Virginia (1997)
The voice
of
Egypt:
Umm
Kulthum, Arabic
song,
and
Egyptian society
in the twentieth
century. Chicago:
The
University
of
Chicago
Press.
Naficy,
Hamid
(1995)
"Iranian cinema
under the Islamic
republic".
American
Anthropologist
97.3.
Rouget,
Gilbert
(1990)
La
musique
et la
transe. Paris: Gallimard
(repr.
and
revised from
1980); English
version:
(1985)
Music and
trance, Chicago:
The
University
of
Chicago
Press.
Van
Nieuwkerk, Karin
(1995)
A trade
like
any
other.
female singers
and
dancers in
Egypt. Austin, Texas:
Texas
University
Press.
VERONICA DOUBLEDAY
University of Brighton
pedantic
to
expect
a title theme to be
explored
in
depth?
Here it is
certainly
not. Tarab is a
great
idea for a collection
of
essays,
but none of the nine articles on
painting
and cinema makes
any
reference
to it and nor do most other articles. In his
chapter
on trance
among
the Arabs in La
musique
et la transe
(1980/1990),
Gilbert
Rouget
concludes that secular trance
(tarab)
and
religious
trance
(wajd)
are
triggered
in the same
way, through
extreme
emotion, and he
suggests
that
tarab is more
closely
connected with
singing (and
the
impact
of
poetic texts)
than with instrumental music. These are
interesting questions.
One also wonders:
is tarab
applicable
to non-Arab Middle
Eastem cultures? What is the
relationship
between
improvisation
and tarab? As
must be
evident,
I am
grateful
for
stimulus this volume
provided.
Note: In this review we have followed
S. Zuhur's transliteration
system which
omits diacritics.
References
Danielson, Virginia (1997)
The voice
of
Egypt:
Umm
Kulthum, Arabic
song,
and
Egyptian society
in the twentieth
century. Chicago:
The
University
of
Chicago
Press.
Naficy,
Hamid
(1995)
"Iranian cinema
under the Islamic
republic".
American
Anthropologist
97.3.
Rouget,
Gilbert
(1990)
La
musique
et la
transe. Paris: Gallimard
(repr.
and
revised from
1980); English
version:
(1985)
Music and
trance, Chicago:
The
University
of
Chicago
Press.
Van
Nieuwkerk, Karin
(1995)
A trade
like
any
other.
female singers
and
dancers in
Egypt. Austin, Texas:
Texas
University
Press.
VERONICA DOUBLEDAY
University of Brighton
Recordings
British traditional and folk musics
The release of two
major
series of
recordings provides
the
opportunity
to
raise the
profile
of British traditional and
folk musics within
ethnomusicology,
and
to discuss issues of representation and
classification. The
recordings
to be
considered are Ewan MacColl's The
Radio Ballads
(8
CD set,
Topic Records);
The Voice
of
the
People (20
CD set, also
Topic); recordings
of Bob Hart and of
Cyril
Poacher
(2 CDs, Musical
Traditions)
and Melodeon
Players from
EastAnglia (Double Tape, Veteran).
The Radio
Ballads,
8
CDs, Topic
TSCD801-808, 1999. Ewan
MacColl
(song lyrics, music,
script), Peggy Seeger (orchestration
and music
direction),
Charles
Parker
(field recordings).
The so-called "radio-ballads" created
by
MacColl,
Parker and
Seeger
were first
broadcast
by
the BBC between 1957 and
1964
(and
were
published
as LPs on the
Argo
label between 1965 and
1970).
Represented
as a new kind of radio based
on the traditional
ballad, this series of
eight
radio
programmes
had a
huge
impact
when it was broadcast and was
hailed as a
breakthrough
in
popular
art.
Why
then do I feel so uncomfortable with
the
programmes
now? Let us look first at
their
compass.
The Ballad
of
John Axon is about the
railwaymen
of
England,
in
particular
the
story
of steam locomotive driver John
Axon, who was
posthumously
awarded
the
George
Cross for his heroic
attempt
to
stop
his train after the brake
pipe
failed
(broadcast
2
July
1958),
TSCD 801.
The
Song of
a Road is the
story
behind
the
building
of the first
motorway
in the
UK, the Ml
(5
November
1959),
TSCD
802.
Recordings
British traditional and folk musics
The release of two
major
series of
recordings provides
the
opportunity
to
raise the
profile
of British traditional and
folk musics within
ethnomusicology,
and
to discuss issues of representation and
classification. The
recordings
to be
considered are Ewan MacColl's The
Radio Ballads
(8
CD set,
Topic Records);
The Voice
of
the
People (20
CD set, also
Topic); recordings
of Bob Hart and of
Cyril
Poacher
(2 CDs, Musical
Traditions)
and Melodeon
Players from
EastAnglia (Double Tape, Veteran).
The Radio
Ballads,
8
CDs, Topic
TSCD801-808, 1999. Ewan
MacColl
(song lyrics, music,
script), Peggy Seeger (orchestration
and music
direction),
Charles
Parker
(field recordings).
The so-called "radio-ballads" created
by
MacColl,
Parker and
Seeger
were first
broadcast
by
the BBC between 1957 and
1964
(and
were
published
as LPs on the
Argo
label between 1965 and
1970).
Represented
as a new kind of radio based
on the traditional
ballad, this series of
eight
radio
programmes
had a
huge
impact
when it was broadcast and was
hailed as a
breakthrough
in
popular
art.
Why
then do I feel so uncomfortable with
the
programmes
now? Let us look first at
their
compass.
The Ballad
of
John Axon is about the
railwaymen
of
England,
in
particular
the
story
of steam locomotive driver John
Axon, who was
posthumously
awarded
the
George
Cross for his heroic
attempt
to
stop
his train after the brake
pipe
failed
(broadcast
2
July
1958),
TSCD 801.
The
Song of
a Road is the
story
behind
the
building
of the first
motorway
in the
UK, the Ml
(5
November
1959),
TSCD
802.
134 BRITISH JOURNAL OF ETHNOMUSICOLOGY VOL.8 1999
Singing
the
Fishing
turns on the lives
of three
generations
of fishermen
working consecutively
in the eras of sail,
steam and diesel and
expressing
the rise
and fall of an
industry (16 August 1960),
TSCD 803.
The
Big
Hewer is about the lives of
miners in the coal fields of
Northumberland, Durham,
South Wales
and the East Midlands (18 August 1961),
TSCD 804.
The
Body
Blow focuses on the
subject
of
poliomyelitis (27
March
1962),
TSCD
805.
On the
Edge presents
the lives and
expectations
of
young people poised
between childhood and adulthood
(13
February 1963),
TSCD 806.
The
Fight
Game is an ironic
allegory,
echoing
the fact that
boxing
was once the
theme of
many
broadside ballads
(3 July
1963),
TSCD 807.
The
Travelling People
is about
Britain's nomadic
peoples,
the
Gypsies
and tinkers
(17 April 1964),
TSCD 808.
The aims of the series are admirable.
They
focus on
underprivileged people
in
British society,
ranging
from those in
working-class occupations
-
or who use a
traditional means of
escape
from them
-
to those who are
marginalized
because of
ethnicity, age
or illness. Rather than
being "ballads", though,
these
tapestries
of sound have more in common with
"epics" in that Ewan MacColl,
the bard,
with the
help
of the rest of his team,
employs
a number of musical forms and
sounds,
while a ballad
performance
usually
does not. The materials from
which MacColl creates the linear
narratives of the
programmes
include his
own
songs, speech
"actualities"
("field
recordings")
recorded
by
Charles
Parker;
the instrumental and vocal sounds
(arranged by Peggy Seeger)
of
leading
contemporary
folk revivalists who drew
on
regional
traditional
styles,
such as the
singers
Bert
Lloyd,
Rae Fisher,
Bob
Davenport
and Isla Cameron
(in
addition
to
Seeger
and
MacColl)
and
instrumentalists Colin Ross
(Northumbrian
pipes),
Louis Killen
(concertina)
and Dave Swarbrick
(fiddle);
and the instrumental sounds of
traditional jazz (e.g. clarinet, trumpet,
saxophone,
double
bass). Only
in The
Travelling People
are the
hard-edged
singing
voices of traditional
singers
heard: Joe
Heaney
of Connemara, Belle
and Sheila Stewart of
Blairgowne
and
Elizabeth and Jane Stewart of
Fetterangus.
Influences
vary according
to
programme:
The Ballad
of
John Axon
relies
heavily
on traditional jazz, The
Song of
the Road is flavoured with
Irishness,
The
Body
Blow draws on
English
and Scots
lyrical song,
and The
Fight
Game is scored
by Peggy Seeger
for brass. Most of the
programmes
are
held
together by
a
recurring
musical
theme,
often a
couplet
from the
programme's
main
song.
The definition of the "radio ballad"
as a "special
synthesis
of
speech
and
song,
rooted on the one hand in the
actuality speech
and on the other in the
indigenous folksong style
in which the
songs
are written and set"
(Parker 1970;
reviewer's
italics)
raises the
questions
"which
indigenous folksong style?"
and
the still
pertinent
"what is meant
by
folksong?"
This cannot be
referring
to
the
composed
sounds themselves for,
although
performed
by
excellent
musicians of different
provenance
(Scottish, American, English),
these
seem to be have been
designed
for a
musical
(indeed
we learn from the notes
that it was the initial intention of Parker
and Maccoll to
produce
a
musical),
particularly
in those
passages sung
in
chorus with dramatic interventions. Pre-
edited field
recordings
and
composed
materials were interwoven in a studio
setting
and
we,
the audience,
feel as
though
we are in a theatre. It bears little
BRITISH JOURNAL OF ETHNOMUS ICOLOGY VOL.8 1999
relation to traditional musics,
which are
usually
performed
in an unaffected
way;
MacColl's
delivery
of
songs
and link
passages
is often
portentous
and
sometimes over the
top.
The
arrangements
often seem
incongruous
next to the
spontaneity, simplicity
and
freshness of the
speakers,
some of
whom, for instance Sam Larner,
were
themselves
accomplished
traditional
singers.
The notes
go
on to
explain
that
"in our
experience, only
such
songs
can
match the
authenticity
of such
speech"
(Parker
1970:1) [reviewer's
italics].
"Authentic" is, of course, a
concept
that
ethnomusicologists
now
recognize
as
problematical
but
matching
traditional
singing
with such
speakers
would have
been more
appropriate.
Although
these CDs conflate in their
notes the idea of "traditional" and
"folk" musics,
I
suggest
that either a
distinction should be retained or the
terms should be
dropped altogether.
It
could be
argued
that
"folksong"
as
defined
by
the media
(acoustic singer-
songwriter
music as in
Dylan,
Joan
Baez
etc.)
rather than "traditional"
music is in this case
appropriate,
although
this is not the
way
the notes
intend
"folksong"
to be
interpreted.
"Traditional" as a classification is also
problemtical,
since MacColl's
singing
style,
mannerisms and
songs
created
their own tradition in the British folk
clubs as, for instance,
did the
guitar
playing
of Martin
Carthy
(e.g.
Carthy,
1999);
from the mid 1960s until the
1980s, almost
every
club had its own
Ewan MacColl and Martin
Carthy.
Moreover,
several
songs
from this
series
-
"Shoals of
herring",
"Hot
ashphalt",
"Farewell to the 30ft trailer"
-
became classics in the clubs.
Paradoxically,
the radio ballads have
affinities both with cultural
policies
in
communist countries of the time and with
classical music
composers
and collectors
of the nineteenth and
early
twentieth
centuries
(Bela Bart6k, Ralph Vaughan
Williams, Percy Grainger,
Cecil
Sharp).
Marxist
policies
created a new form of
music from indigenous traditional musics,
and
attempted
then to
give
them back to
"the
people",
as did nationalist
composers
and collectors.
Similarly,
these are not the
creations of the working-class and
marginalized people
themselves but
creations from the raw material of their
lives
by
those who had
dipped
into but not
shared those lives. As an
anthropologist,
I
had most
difficulty
with The
Travelling
People,
which
represented Gypsy-
Travellers as victims on the
fringes
of the
host
society
without
any strong songs,
aesthetic values, societal rules and
customs of their own. In the
light
of the
research of Judith
Okely
(1983)
and Iren
Kirtes6z Wilkinson
(1999),
this has now
become
unacceptable.
Why
then do I feel uncomfortable
with these
programmes?
Because
although clearly
a
breakthrough
in radio
programming
and
presentation, they
did
not
effectively
introduce us to the
soundscapes
and sound-ideals of these
groups
or
try
to
give
a balanced
representation. Rather, they
overwhelmingly
demonstrate the creative
talents of the collectors.
The Voice
of
the
People:
the Traditional
Music
of England, Ireland,
Scotland and
Wales,
1998. 20 CDs.
Topic
TSCD 651-670.
Compilation,
research and notes
by
Reg Hall, production by Tony
Engle
and
Reg
Hall.
This series of
anthologies,
edited
by Reg
Hall, is in marked contrast to the Radio
Ballads.
Nearly
500 field
recordings
of
English, Irish, Scottish and Welsh
traditional music drawn from the archives
of
Topic
records and from
private
collections have been
compiled
as
thematic
anthologies:
135
BRITISH JOURNAL OF ETHNOMUSICOLOGY VOL.8 1999
Come let us
buy
the licence:
songs of
courtship
and
marriage,
TSCD 651.
My
ship
shall sail the ocean.
songs
of
tempest
and sea battles, sailors
lads
andfishermen,
TSCD 652.
O'er his
grave
the
grass grew green:
tragic ballads, TSCD 653.
Farewell,
my
own dear native land:
songs
of
exile and
emigration,
TSCD 654.
Come all
my
lads that
follow
the
plough:
the
life of
rural
working
men and
women, TSCD 655.
Tonight
I'll make
you
my
bride: ballads
of
true and
false lovers, TSCD 656.
First I'm
going
to
sing you
a
ditty.
rural
fun
and
frolics,
TSCD 657.
A
story
I
'mjust
about to tell. local events
and national issues, TSCD 658.
Rig-a-jig-jig:
dance music
of
the south
of
England,
TSCD 659.
Who
'
that at
my
bed window?:
songs of
love and amorous encounters,
TSCD 660.
Myfather
's the
king of
the
gypsies:
music
of
English
and Welsh travellers
and
gypsies,
TSCD 661.
We've received orders to sail. Jackie Tar
at sea and on shore, TSCD 662.
They
ordered their
pints
of
beer and
bottles
of
sherry.
the
joys
and
curse
of
drink, TSCD 663.
Troubles
they
are but
few.
dance tunes
and
ditties,
TSCD 664.
As me and
my
love sat
courting: songs
of
love, courtship
and
marriage,
TSCD 665.
You
lazy
lot
of
bone-shakers:
songs
and
dance tunes
of
seasonal events,
TSCD 666.
It
fell
on a
day,
a
bonny
summer
day:
ballads, TSCD 667.
To catch a
fine
buck was
my
delight:
songs
of
hunting
and
poaching,
TSCD 668.
Ranting
and
reeling:
dance music
of
the
north
of England,
TSCD 669.
There is a man
upon
the
farm. working
men
and women in
song,
TSCD 670.
Each volume stands on its own and
the series as a whole
presents
an
extensive and varied
picture
of British
traditional
singing,
instrumental music-
making
and
dancing throughout
the
twentieth
century.
All the classic
recordings by
well-known
singers
are
included
-
Harry Cox, Sarah Makem,
Joseph Taylor,
Jeannie Robertson, Belle
Stewart, Paddy Tunney,
Walter Pardon,
Fred Jordan, Phoebe Smith, Margaret
Barry, Geoff
Ling, Percy Ling (the
photograph
in the booklet by the
way
is
Percy Ling,
not
George!)
- the list is
endless; and the same with musicians
-
Oscar Woods
(melodeon),
Scan Tester
(English concertina),
Fred
Whiting
(fiddle),
Michael Gorman
(fiddle),
Joe
Hutton
(small
pipes),
Willy Taylor
(fiddle)
and so on. Lesser known
performers
are also included. This
really
is the music of
working people (builders,
housewives, shepherds, cowmen,
gardeners,
estate workers, miners,
trawlermen, dealers in
scrap,
country
policemen, village postmen,
chambermaids and
hospital nurses)
in
undoctored form
-
the timbres and
textures of musical
expression,
performance skills, subtleties of
meaning
and emotional
impact
need no
tarting up.
Already, they represent
the
personalities,
lives and social values of these
people.
Reg
Hall's commentaries for each
volume are invaluable.
Challenging
the
concepts
of
"folksong"
and "folk dance",
he
gives
instead details of the
performers
lives,
the communities in which
they
participated
and the
settings
of
pub,
cottage,
social club and
village
hall in
which
they
made their music. As a
fiddler,
I found
particularly enlightening
the two CDs of dance music from the
north and south of
England,
with their
differing sound-ideals,
social
circumstances and
repertories.
See also The Voice
of
the
People.
A
Selection
from
the Series
of Anthologies,
136
BRITISH JOURNAL OF ET HN OM US ICOLOGY VOL.8 1999 137
The Traditional Music
of
England,
Ireland, Scotland and
Wales, 1998,
Topic,
TSCD 751.
Bob Hart: A
Broadside,
1999. Musical
Traditions MT CD 301-2.
Cyril
Poacher:
Plenty of Thyme,
1999.
Musical Traditions MT CD 303.
Musical Traditions is an Internet
magazine
which also publishes
recordings,
and these three CDs of East
Suffolk
singers
Bob Hart and
Cyril
Poacher are the latest
offerings.
The
recordings
of Bob Hart of
Snape
were
made in 1969
by
Rod and
Danny
Stradling
and
by
Bill Leader
(formerly
of
Leader
Records);
those of
Cyril
Poacher
of
Blaxhall, by
Ginette
Dunn, Tony
Engle,
Neil
Lanham, Keith
Summers,
and Mike Yates.
During my own
fieldwork in Blaxhall in East Suffolk
(1976-85)
I was
intrigued
to discover
that
although
Bob Hart was the
gardener
of
Benjamin
Britten and noted within the
community
as a
singer
with a
huge
repertoire,
Britten nevertheless looked to
the
English
Folk Dance and
Song Society
in London for his
folksong inspiration.
Strangers
in this
part
of the world were
(and
in some
places
still
are) judged
as
much
by
their
inability
to share sound-
ideals as
by
the affiliation of class
(Pegg,
1985).
In Britten's
case,
both factors
probably
came into
play;
differences in
sound-ideal become
apparent
if one
listens to Britten's twee piano
accompaniment
of "I am a little
ploughboy"
to Peter Pear's
operatic
vocals.
The CDs are
presented
in booklets
(a
larger
format than those
usually
accompanying CDs) explaining
the
relationship of the collectors with the
performers
and
providing background
details of the
singers'
lives. The
information is drawn from diverse
sources
(e.g.
Dunn; Summers,
1978)
as
well as from the
experiences
of the
Stradlings.
The
advantage
of
listening
to
whole CDs of a
single performer,
rather
than a
single
track of an
anthology,
is the
chance it
gives
to
adjust
the ear to the
rhythmic,
melodic and
phrasing
subtleties of such
singers.
Melodeon
Players from
East
Anglia:
the
Pigeon
on the Gate, 1997.
Veteran,
Vintage Series, 2 audio
tapes,
VTVS 05/06.
Based in
Suffolk, John Howson's Veteran
company
is another valued outlet for
traditional music. These two
tapes
of
field
recordings
were made between
1959-97
by
a
range
of collectors
including
Alun
Howkins, John
Howson,
David
Nuttall, Carole
Pegg
and Keith
Summers.
They
are
presented
in a neat
double cassette box. Cover notes include
an introduction
by
John Howson with
contributions about the
performers by
the
collectors and
by
Mabel
Woods, now
widow of one of the
principal players,
Oscar Woods. The melodeon has become
the backbone of the
English Country
Music Revival over the
past twenty
or so
years, spearheaded by
the first weekend
solely
dedicated to this
type
of music
organized by
Rod and
Danny Stradling
at
Cricklade in 1977. The
recordings
conjure up
the
atmosphere
of
"tune-ups"
in East Suffolk with the likes of
Dolly
Curtis in the Brundish
Crown, Oscar
Woods and his son-in-law Jen in the
Blaxhall
Ship,
"Font"
Whatling
in the
Framlingham
Hare and Hounds and
stepdancers tapping
out the
rhythms
to
the favourite
stepdance tune, "Pigeon
on
a
gate".
Given
my
own contribution to
this collection
-
albeit small
-
I must
resist the
temptation
to
pass judgement.
I
would nonetheless
urge
readers to listen
to this collection and form their own.
References
Carthy,
Martin
(1999)
Martin
Carthy:
a
138 BRITISH JOURNAL OF ETHNOMUSICOLOGY VOL.8 1999
collection.
Topic
TSCD750.
Dunn, Ginette
(1980)
The
fellowship
of
song: popular singing
traditions in
East
Suffolk.
London: Croom Helm.
Hart, Bob
(1973) Songs from Suffolk,
Topic
12TS225.
Poacher, Cyril
(1975)
The
broomfield
wager:
traditional
songs
from
Suffolk.
Topic
12TS252.
Okely,
Judith
(1983)
The Traveller-
Gypsies. Cambridge: Cambridge
University
Press.
Parker, Charles
(1970/1999)
On the
edge,
Topic
TSCD 806
(CD notes).
Pegg,
Carole
(1985)
Music and
society
in
East
Suffolk.
an examination
of
continuity
and
change
in the musical
activities
of
some
villages
in East
Suffolk.
1985. PhD thesis,
University
of
Cambridge.
__
(1985)
Tune-up
at the
Ship.
Video
film, colour.
Summers, Keith
(1998) Sing,
say
or
pay!,
Traditional Music, 1977.
Republished
in Musical Traditions Internet
magazine.
Kertesz Wilkinson, Iren
(1997)
The
fair
is ahead
of
me. individual
creativity
and social contexts in the
performances of
a southern
Hungarian
Vlach
Gypsy
slow
song.
Folk music of
Europe
4. Institute for
Musicology
of the
Hungarian
Academy
of Sciences.
For Musical Traditions
magazine
see
www.mustrad.
org.uk.
For Tune
up
at the
Ship
contact Carole
Pegg (see
inside front
cover).
For mail order
catalogues
send SAE to
Veteran Mail Order,
44 Old Street,
Haughley, Stowmarket, Suffolk IP 14 3NX.
CAROLE PEGG
University of Cambridge