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"Folk songs."
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Oh, a-hunting we will go
Old and new verses for a popular folk song about hunting and capturing an animal--and then letting him go.
Book
Our Ancient National Airs: Scottish Song Collecting from the Enlightenment to the Romantic Era
One of the earliest documented Scottish song collectors actually to go 'into the field' to gather his specimens, was the Highlander Joseph Macdonald. Macdonald emigrated in 1760 - contemporaneously with the start of James Macpherson's famous but much disputed Ossian project - and it fell to the Revd. Patrick Macdonald to finish and subsequently publish his younger brother's collection. Karen McAulay traces the complex history of Scottish song collecting, and the publication of major Highland and Lowland collections, over the ensuing 130 years. Looking at sources, authenticity, collecting methodology and format, McAulay places these collections in their cultural context and traces links with contemporary attitudes towards such wide-ranging topics as the embryonic tourism and travel industry; cultural nationalism; fakery and forgery; literary and musical creativity; and the move from antiquarianism and dilettantism towards an increasingly scholarly and didactic tone in the mid-to-late Victorian collections. Attention is given to some of the performance issues raised, either in correspondence or in the paratexts of published collections; and the narrative is interlaced with references to contemporary literary, social and even political history as it affected the collectors themselves. Most significantly, this study demonstrates a resurgence of cultural nationalism in the late nineteenth century.
eBook
Hear My Sad Story
In 2015, Bob Dylan said, \"I learned lyrics and how to write them from listening to folk songs. And I played them, and I met other people that played them, back when nobody was doing it. Sang nothing but these folk songs, and they gave me the code for everything that's fair game, that everything belongs to everyone.\" InHear My
Sad Story, Richard Polenberg describes the historical events that led to the writing of many famous American folk songs that served as touchstones for generations of American musicians, lyricists, and folklorists.
Those events, which took place from the early nineteenth to the mid-twentieth centuries, often involved tragic occurrences: murders, sometimes resulting from love affairs gone wrong; desperate acts borne out of poverty and unbearable working conditions; and calamities such as railroad crashes, shipwrecks, and natural disasters. All of Polenberg's account of the songs in the book are grounded in historical fact and illuminate the social history of the times. Reading these tales of sorrow, misfortune, and regret puts us in touch with the dark but terribly familiar side of American history.
On Christmas 1895 in St. Louis, an African American man named Lee Shelton, whose nickname was \"Stack Lee,\" shot and killed William Lyons in a dispute over seventy-five cents and a hat. Shelton was sent to prison until 1911, committed another murder upon his release, and died in a prison hospital in 1912. Even during his lifetime, songs were being written about Shelton, and eventually 450 versions of his story would be recorded. As the song-you may know Shelton as Stagolee or Stagger Lee-was shared and adapted, the emotions of the time were preserved, but the fact that the songs described real people, real lives, often fell by the wayside. Polenberg returns us to the men and women who, in song, became legends. The lyrics serve as valuable historical sources, providing important information about what had happened, why, and what it all meant. More important, they reflect the character of American life and the pathos elicited by the musical memory of these common and troubled lives.
eBook
There was an old dragon who swallowed a knight
In this variation on the traditional cumulative rhyme, a greedy, hungry dragon eventually learns moderation.
Book
Old Mikamba had a farm
The inhabitants of Old Makimba's farm in Africa, including a baboon, an elephant, and a lion, are described, verse by verse. Includes facts about African animals.
Book
Malaysia's warm weather as a metaphor
Conveying one's sense of belonging to a country can be challenging. Often, it is expressed in a rather cliched, impersonal manner. However, the clever use of imagery can evoke relatable, authentic, and lasting impressions. Borrowing from a local Chinese folk song genre, Tan and Teoh (2006)'s 'Yong Malaixiya de Tianqi Shuo Ai Ni' (Let Me Use Malaysia's Warm Weather to Say, I Love You) expresses deep affection for the writers' native land using the 'warm' Malaysian weather as an apt metaphor. Located just north of the Equator, Malaysia experiences high temperatures all year round. Malaysian hospitality is likened to its weather, and this admirable quality is apparent in the everyday lives, cultures, and traditions of Malaysians. Unable to exploit the vibrant colours of seasonal changes that temperate countries experience, Malaysian songwriters use this endearing weather metaphor to highlight the warmth of the country and its people, serenading readers with a unique, romantic, and catchy refrain.
Journal Article
Building a Parallel Corpus for Chinese Folk Songs Translation Studies: A Case Study of Northern Shaanxi and Hua’er Folk Songs
Folk songs, collaboratively created by the public and transmitted orally, have gained widespread popularity. The translation of folk songs primarily centers on lyrics translation, a subset of literary translation. Recent advancements in corpus technology have highlighted the significance of corpus-based research approaches for the analysis of literary translation. The corpus method, now employed as a hybrid research approach, enables the generation of quantitative data for descriptive translation studies. Scholars are increasingly using parallel corpora containing both the source text (ST) and the target text (TT) to explore translation universals across diverse texts. Despite the growing body of literature on the translation of Chinese folk songs, most studies have involved straightforward analyses of a limited number of translated texts without the utilization of quantitative approaches. This article aims to bridge this gap by presenting a prospective study on the creation of the Chinese-English Parallel Corpus of Northern Shaanxi and Hua’er Folk Songs (CEPCNSHFS). The study covers essential aspects such as sampling, corpus structure, corpora selection, and corpora processing. Moreover, to assess the practical utility of the CEPCNSHFS, a pilot study was conducted. The primary contributions of this article reside in the potential of the CEPCNSHFS to support diverse research topics, including the exploration of translation language characteristics, styles, and methods employed in translating Northern Shaanxi and Hua’er folk songs, both of which hold significant positions within Chinese folk song traditions.
Journal Article