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No state can boast of longer lasting and more variedfolk traditions than Virginia. Many of her materialtraditions - such as barns, houses and plows - remain aspermanent, unchanged documents of her early settlers' lifestyle. Her performance traditions - songs, tales and fiddle tunes - also help us understand something of theeveryday social life and beliefs of Virginia's people. Theseperformance traditions, however, because they have beencontinually changing and developing from the moment oftheir creation, are difficult to identify and document accurately. THE BLUE RIDGE INSTITUTE of FERRUMCOLLEGE exists to seek out and document both thematerial and performance traditions found in Virginia.This record of traditional British ballads sUOg in southwestern Virginia is only one of a series of LP's producedby the Blue Ridge Institute documenting Virginia's variedand complex performance traditions. The LP concentrates on only one section of the state in order to demonstrate the vast range of singing styles and performancepossibilities found in one relatively small section of thecountry. This range runs from very archaic unaccom-panied solo singing styles, through examples sung with oneinstrument accompaniment, to full treatment by stringbands. All of these examples were recorded within approximately a forty year span and all styles presented here haveexisted side by side at the same time and place. By emphasizing the ever changing nature of folksong tradition,the ballads on this LP are presented as continually developing works of art and not sim ply as static texts, historical documents, or frivolous diversions. These songs havelasted many hundreds of years because they are important to the people who sing them and to the people wholisten to them.SIDE 1* A BOOKLET OF FULL DESCRIPTIVEAND ANALYTIC NOTES IS ENCLOSED*SIDE 2* * * Front cover - Texas Gladden, ca. 1932. Photo by AlfredaPeel , courtesy Virginia Folklore Society and Alderman Libt:ary.University of Virginia.* * * Back cover - Dan Tate, 1970. Photo by Blanton Owen.*. * This record produced under a grant from the VirginiaCommission of the Arts and Humanities.@ 1978 BRI RecordsI.2.3.4.5.6.7.8.9.10.I.2.3.4.5.6.7.OLD IRELAND - Polly Johnson . . . . . .THE THREE MAIDS - Polly Johnson . . .THE FARMER'S CURST WIFE - Joe Hubbard . .AS I WALKED OVER LONDON'S BRIDGES.F. Russell . . . . . .LITTLE MASSIE GROVERuby Bowman Plemmons . . . . .WILD HOG IN THE WOODSEunice Yeatts McAlexander . . . . . . . .BARBARA ALLEN - Dan Tate .WIND AND RAIN - Dan Tate . . . .THE DEVIL'S NINE QUESTIONS - Texas Gladden .THE BAD GIRL - Texas Gladden . . . . .THE TURKISH REBELEE - Horton Barker . . .THE HOUSE CARPENTER - Dorothy Rorick .OH DEATH - Dock Boggs . . . . . .THE THREE BABES - Spence Moore .QUEEN SALLY - Kate Peters Sturgill .FROGGIE WENT a'COURTIN' - Robert Russell .THE RAGING SEA, HOW IT ROARSE. V. Stoneman and the Blue Ridge Corn Shuckers . . .8. THE JEALOUS LOVER - Stanley Brothers . . .9. THE BUTCHER'S BOY - Kelly Harrell . . 172:502:251:343:202:133:16(N R16549)

COMMONWEALTH OF VIRGINIADEPARTMENT OF HIGHWAYSAND TRANSPORTATIONTRAFFIC AND SAFETY DIVISIONS TSCO(UlINITV INIDOINlD P INIDEINITCOTOIe:SSCA LE OF MI LESo5 1020 3040HOME AREAS OF THE SINGERS1. Polly Johnson , Joe Hubbard , Kate Sturgill,Dock Boggs2. Stanley Brothers3. Sam Russell , Robert Russell4. Horton Barker, Spence MooreS. E. V. Stoneman , Kelly Harrell6. Dan Tate7. Ruby Bowman Plemmons8. Eunice Yeatts McAlexander9. Dorothy Rorick".10. Texas Gladden ?O',I' N -,(rH IGH LA N D,}w ARMjIA).r·. . . . .r" EE--- /" , \TAZEWELL/1/'#/BLAND.",. / ' \ . CRAI G''(,RA;;;R ONTGOMER\(' .r.-'- \. \, :'/ ALMYRA'\.'././ n uv ). J\.i. 1:- V I NG STON :(·' ,'.( ' (' BUC KI NGHAM \BUCKINGHAM .AMHERST ' ' ,\ .L";NCHBUR "" ".I. CUI BI'R L NID !(APPOMA1'TO tiL.\ .) I".;'RUSTBURG.//RO CKV \.i.JMO UNT /' . ,)iA POMAT TOXCAMPBELL. .FLOYO . .J.\,),,1A L BEMARL E\VISTA. / ' AMHE RST\),i HARLOTTESVtL """ ''' ' ' .NELSONRUfNA9 ),)BEO FOR[5faBE DFO RDRO A NOK C!-iRISTIA')SS1JRG)1/ \.F INCASTLE ' . WVTHEVILLE " P Ul. AS KI ',' LEX I NGTON . )1'"- .' ,/ . . ""'\\i ;.BLAND ), PULASKI. . . - . .D!, ,'/ './ OCKBRIDGE"'. ",-·-", ·""/iEW CASTI,E/ . ( '" WAYNESBORO ':"'"FR AN KL ISF-'l '--x,.FARMV I LLEI " " PR INCE1\. .\ . . .ir- .- LEBANc;.N . 'JJONESVILl"E-/--'.).c5 .\. .ANO K PEARtSB U RG. /\ . GiLES0/"SA .,.--\".,. WELLSPR I NG rFORGC-· .CaVING c,. C;"-. ,J/ ( ;;;'6N. EG I 'Yt. \ /' \ BOTETOU RT'\ AUGUSTA?BAT HI.,9:- : -.l./(·'·- . - .(- TAUNTO SCOTTGATE CITY\. . -''(AB1 GDONWASHI N GTON- -e .i.J T3--, - ;";';':" .w.J.LT E NNESSEENOR T HCAROLINAREV , JAN . 1 97 T &. S- 178CDR . NO. TA· 14I SC@BRI 197&

"I DON'T THINK THE LAST WORDS OF THATSONG CAN BE BEAT."The singing of the old traditional balladsharkens back to another time in our history. Theart flourished in this country in the 18th and 19thcenturies when time passed more slowly andpeople-especially rural people-had time toreflect on their heritage and themselves. Thecultural distance between them and their ancestors was short--only a memory away. Balladryflourished in close-knit, fairly homogeneousfamilial and social groups because the membersof these groups shared a common sense of historyand valued that history highly. Change, thoughever-present, was not valued for its own sake.When outside influences-new songs, newstyles-were brought into a group, there was timeto fulIy digest and adapt them until they fitcomfortably into the old, familiar patterns. If thetransition could not be made satisfactorily, thenew was often discarded in favor of the old andfamiliar.By the beginning of the 20th century ourcultural landscape began to change ever morerapidly. The increased industrialization anddrawing power of cities, the coming of automobiles and paved roads, radio and commercialrecordings becoming more and more availableall of these and more ushered in a new sense ofhistory; the history of "now" and of the future.Conservative, homogeneous societies were oftenflooded with newness and the people in them nolonger had time to deal with change in the oldways. The once common homogeneous groupbecame increasingly rare. As modernity accelerated, more and more people chose it inpreference to the old ways. Traditional lifestylestook on the stigma of "old fashioned" and"behind the times." Those who chose to retainthe old ways did so less and less because it wasthe' 'natural" thing to do; to elect the traditionalover the new required extra effort and thought. Itis a tribute to the Virginian's love oftradition andhistory that so much material reflective of the oldlife-ways remained a valued part of his life. Themusic on this album demonstrates the ability ofmany Virginians to hold on to the past, for all ofthe songs heard here can be traced back in time tothe British Isles. These songs, presenting thecomplete gamut of performance possibilities, arealI ballads-they tell a story.The range of folk music in Virginia can bestaggering. From Old World ballads brought bythe original settlers, to current compositions bymodern bards about today's events, Virginia hasit alI. While the same can-be said of other states,few other states have received the same amountof attention in the study and collection oftraditional music. From the early 20th centurywhen the Englishman Cecil Sharp wandered overVirginia collecting Old World songs and theVirginia Folklore Society was doing the same,through the continued documentation of Virginia's folk music by the federally-funded WPAWriter's Project in the 1930s,to the present day,collectors, enthusiasts, and scholars have documented the extent and abundance of Virginia'sfolksong.What Is A Ballad?The ballad as a distinct form of song probablyemerged sometime around 1200-1300 A.D. innorthern Europe. The traditional ballad differsfrom other song forms in that it is a stanzaic,narrative folksong; it is constructed of lines whichare grouped together in some recognizablescheme, and tells a story that has beenperpetuated and changed in oral tradition overtime. The schematic or stanzaic structure suggests that the form is newer than other, nonstanzaic songs, such as the epic and the romance.Additionally, each story can be told in any numberof ways; thus, each balIad idea has a number of"versions" (certain key elements are restructured, but the story is still recognizable), and"variants" (only verbal or minor changes, such asa king becoming a squire).A ballad is further distinguished from otherstanzaic songs by three primary characteristicsand it is classically thought that a song whichlacks anyone of the three elements cannotproperly be called a ballad. First, the songconcentrates on one single episode that iscomposed of scenes and ususally begins in themiddle of the action, then moves from scene toscene with little or no transition. Second, the storyis told dramatically, usually through the means ofdialogue. Third, the narrative approach isimpersonal; there is little or no intrusion of thenarrator's point of view. One may sympathizewith the character's plight, but during theperformance such sympathy is not explicitlystated by the singer. In addition to these threeprimary characteristics, there are a number ofsecondary elements found in most balIads, but notnecessarily in all ballads. Foremost among thesesecondary characteristics are repetition, whichruns rampant through balIadry, and the occurrence of refrains which are usually lyrical infunction and do not advance the story.The subject matter of a balIad is partly whatdetermines whether or not it will remain popularover time or lose favor with the singers of a laterera. It is somewhat surprising that very fewbalIads have the same themes as medieval literature, even though they were products of the sametime period. For example, although the number ofstories in medieval literature dealing with lives ofthe saints is overwhelming, fewer than a dozen orso balI ads from the same period concern themselves with religious events. Likewise, historicalchronicles of major events, while popular inliterature, were apparently too broad in scope tobe handled successfulIy in balIad form. Tradition-al ballads deal with those subjects which were ofgeneral concern to everyday people-people wholived in primarily homogeneous, semi-isolatedgroups. Because the ballad-stories were ofinterest to many different types of people, theycould be carried from place to place and understood immediately by the new audience. Thatsuch migration occurred is evident from the factthat many balIads, including most on this record,have been found all over northern Europe as wellas in the United States and the British Isles.Common subjects include historical and politicalevents which could easily be localized andpersonalized (Le., those dealing with immediatepersonal problems rather than with state or clanaffairs), and beliefs and practices held in common(such as riddles and supernatural tales). The mostcommon themes, of course, are the personaldramatic situations, especially those filled with"tragic pathos." Fully three-quarters of the 305balIads found in Francis James Child's Englishand Scottish Popular Ballads are love stories ofone sort or another. In fact, traditional singers callthese ballads "old love songs" and refer only tothe written texts as "ballets."Ballads have often been studied as examplesof "primitive" poetry and their meter closelyscrutinized in order to shed light upon such broadconcerns as the origin of poetry itself. Althoughballad study of this sort never proved anythingconclusive about the broad question, in theprocess balIad meter itself was amply documented. The most frequently found meter inbalIadry ("Classic" 'balIad meter) is "commonmeter," a quatrain rhyming ABCB with a stresspattern of 4, 3, 4, 3. Almost as prevalent is theseven stressed, rhymed couplet form. Longmeter, four stresses per line, is also found but lessoften than either of the four/three stress patternsabove. Short meter, three stresses per line, is theleast encountered of alI forms. Some scholars feelthat the couplet in long meter is the oldest form,but this assertion cannot be verified.Ballad Scholarship In VirginiaIn 1898, publication was completed of FrancisJames Child's The English and Scottish PopularBallad. This work assembled, with extensiveheadnotes about the ancestry of each item,different balIad stories-versions and variantsjudged to be the product of oral tradition ratherthan of more sophisticated literary tradition.Although Child did include three balIads collectedfrom oral traditions in Loudon County, Virginia, inhis colIection, he considered the actual singing ofthese folk-balIads in a truly traditional context tobe a practice of the remote past and no longerdone. It remained for other scholars to seek thesesongs not in yelIowed manuscripts, but fromactual singers.Immediately following Professor Child's workand possibly inspired by it, a handful of dedicated

ballad enthusiasts ushered in the first era ofmodern ballad and folksong collecting in theUnited States. Field collecting in the UnitedStates was pioneered, perhaps, by W. W. Newell,but he was soon followed by such people asPhillips Barry in New England, Josiah Combs inKentucky, H. M. Belden in Missouri, John Lomaxin Texas, Frank C. Brown in North Carolina,the aforementioned Cecil Sharp throughout theSouth, and Professor Alphonso Smith then at theUniversity of Virginia. Smith founded the VirginiaFolklore Society in 1913 and set as its firstpurpose the tracking down of all Virginia versionsof the old Child ballads.Smith set out to accomplish this task byinitiating a systematic search, conducted byclassroom teachers, throughout Virginia's publicschool system. The results pleased Smith: "thatVirginia has found more of these [Child ballads]than any other state is due . to the interest andperseverance and intelligence of the teachers thanto any or to all other causes." (Davis, TraditionalBallads of Virginia, p. 29).The culmination of these initial years of balladhunting in Virginia finally took book form in 1929,after Professor Smith's death. Of the 30S distinctballad stories given by Child, S1 were recoveredin Virginia by 1929. Edited by Arthur Kyle Davis,Traditional Ballads of Virginia gives 440 versionsand variants of these S1 narrative songs. Greatattention was given to the large number ofversions and variants because, to the scholar,every version of a ballad story has as muchauthority as any other, although aesthetically hemay prefer one version over another.In 1949, Dr. Davis published Folksongs ofVirginia, a checklist of titles including Childballads and other folksongs collected by theVirginia Folklore Society to that date. In 1960 heedited More Traditional Ballads of Virginiawherein he gives additional important versions,variants and tunes of 46 Child ballads includingeight entirely new ballads found in Virginia since1929. In both ballad collections, Dr. Davisexplained his editorial practice of including onlyChild ballads and not the reams of other folksongsthat have been submitted. He felt that becauseChild ballads are the "aristocrats of the folksongfield" and are becoming harder to locate withevery passing year, they deserve priority treatment. He acknowledged that the other folksongmaterial needs publication and such seems thecase, for of the 974 distinct songs collected by theVirginia Folklore Society (not including versionsor variants), only 61 are from the Child canon.Davis was certainly aware that among traditionalsingers there is little or no distinction madebetween Child ballads and other equally favored"old love songs." just like anyone else, folksingers prefer songs not for their historicalpedigree, but for their story and tune.Between 1938 and 1942, folklore collectorssponsored by the Federal Writer's Project (part ofthe Works Progress-later Prqjects- Admini-as well as for the folklore item itself. With theseguidelines in mind, collectors gave chase, often intheir own backyards. Raymond Sloan of Ferrum,Virginia, for example, once interviewed himselfand, incidentally, did a good job of it. Emory L.Hamilton of Wise visited his relatives and friendslooking for the old ballads and had extraordinarilygood results. All of the material collected underthe auspices of the National Folklore Project wasto have been housed in a national archive for theuse of students, educators, and writers, but thisnational archive never materialized (although theArchive of Folk Song in the Library of Congress isthe national folksong depository). Consequently,almost all of the Virginia material collected wasdeposited in Alderman Library of the Universityof Virginia. In 1967 this material was rediscoveredand the folksong segment was organized by titlewith the final list of folksong holdings publishedin 1969 as The Folksongs of Virginia: A Checklist,compiled by Bruce Rosenberg. Dr. Charles L.Perdue, Jr., folklorist at the University ofVirginia, is currently preparing an indexed listingof all Virginia folklore material in the Archive of. Folk Song, Library of Congress. In addition to these major, organized collect ing efforts, there have been numerous smaller»scale, private ventures. The Library of Congress:;; Archive of Folk Song used a sound truck in the.E:.:i 1940s to collect material in the southern Blue. Ridge. Alan Lomax and others have made.§ repeated collecting trips throughout the state over: . the past thirty or forty years and much of theiromaterial is now available on commercial record: ings. Other folksong scholars, such as George Foss, Tom Carter, and this writer, continue to find excellent singers of the old songs.The string of folksong collectors and enthusiasts who have reaped the wealth of Virginiamaterial has gone almost unbroken since those»first initial steps made by Alphonso Smith in the] early 1900s. Although it is true that traditional" gj'tl'iio,,"1 § singers of the old Child ballads become increas ingly hard to find, the dire predictions made everydecade or so that all the ballad singers would dieout in a few years have so far not materialized.EFurthermore, the number of native American andoo native Virginia folksongs based in form on the6: older models remains impressive and actually-- seems to grow. Even though taste in songs hasDR. ARTHUR KYLE DAVIS, JR . August 1932.changed over the years, many Virginians stillcherish the old songs and continue to sing them.stration) roamed over Virginia in search ofStyles and items within the folksong traditiontraditional material. Like Virginia Folklore Societyhave changed, but the tradition itself remainsmembers, these WPA collectors were mostlyvital and healthy.enthusiastic amateurs devoted to the documentation of Virginia's folk culture in all its diversity.The SongsThe guidance these collectors received fromHerbert Halpert, Director of the National FolkloreAll of the songs on this album are balladsProject, and Mariam H. Sizer, Virginia's Folklorerecorded in Virginia by Virginia singers over aConsultant, was professional. Collectors wereperiod of more than 40 years. It is important toinstructed to transcribe items verbatim-exactlynote, however, that when dealing with culturallyas heard-and to take extensive field notes as todetermined matters such as folk singing, arbitrarythe history, source and use ofthe folklore, and thepolitical boundaries·-such as state lines-have noexperience of the people who keep the lore alivemeaning. Unlike much "normal" history that2

concerns itself with political events and units(such as "V

traditions - such as barns, houses and plows - remain as permanent, unchanged documents of her early settlers' life style. Her performance traditions - songs, tales and fid dle tunes - also help us understand something of the everyday social life and beliefs of Virginia's people. These performance traditions, however, because they have been

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