unlocking rhythms from the american folklife center archives

Unlocking Rhythms from the

American Folklife Center Archives

Melanie Zeck, American Folklife CenterThank you for joining us!

We will begin at the top of the hour.

Housekeeping Q&A Box

Survey at the end

Video and slides will be shared with all participants tomorrow

Unlocking Rhythms from the

American Folklife Center Archives

Melanie Zeck, American Folklife Center

SONGS* and SOUND PROFILES

• Personal Experiences

• Components

• Historical and Cultural Meanings

*songs = pieces of music that contain words

Unlocking Rhythms: Uncovering Musical SecretsConsiderations

Unlocking Rhythms: Uncovering Musical SecretsUnguided Listening

“Michael Row the Boat Ashore”American Folk Music Revival

New York World-Telegram and the Sun Newspaper Photograph Collection, Library of Congress

Pete Seeger, 1955 Pete Seeger, 2000

Library of Congress Prints and Photographs Division

• MUSIC is a form of communication

• MUSIC functions like other resources

Unlocking Rhythms: Uncovering Musical SecretsTwo-part premise

QUANTITATIVE QUESTIONS*

• Who?

• What?

• When?

• Where?

QUALITATIVE QUESTIONS*

• Why?

• How?

Unlocking RhythmsMusical Research

*MUSIC can be used to answer these questions

Sound Profile #1: Template, “Michael Row the Boat Ashore”As rendered in the National History Day Webinar, October 21, 2020

BIG QUESTION More Specific Questions Observations

WHO

Possibility of Musician IdentificationQuantity of Musician(s)Gender of Musician(s)Name of Musician(s)Audience Profile

WHAT(Sound)

Sound—Voice• Whistling• Humming• Singing

Generic SyllablesWords

Sound—Beyond the Voice• Clapping• Stomping• Patting• Tapping• Playing an Instrument

Sound—Voice Sound—Beyond the Voice

WHAT(Result)

Song• Language

Word ComprehensionMeaning

• Unique Characteristics

Movement• Conducting• Cuing participants

Song Movement

WHEN

Specific DaySpecific DateAs part of a seasonAs part of a reason

WHERE

Sound Profile #1: Completed, “Michael Row the Boat Ashore”As rendered in the National History Day Webinar, October 21, 2020


WHO


Yes—identifiable; musician is audible and visibleOne musicianFemaleMelanie Webinar participants

WHAT(Sound)




Sound—VoiceWhistling, noHumming, only first timeSinging, yes

Generic syllables, noWords, yes;

Sound—Beyond the VoiceNo ClappingNo StompingNo PattingNo TappingNo Instrument

WHAT(Result)

Song• Language




SongLanguage: English or English Creole; Meaning is understandable

MovementNo movement

WHEN


WednesdayOctober 21, 2020NoYes, for a National History Day Webinar

WHERE Via computer

Sound Profile #2: Template, “Happy Birthday”As rendered in the National History Day Webinar, October 21, 2020


WHO


WHAT(Sound)





WHAT(Result)

Song• Language




Song

LYRICS, Line 1LYRICS, Line 2LYRICS, Line 3LYRICS, Line 4

Movement

Line 1Line 2Line 3Line 4

WHEN


WHERE

WHY

Sound Profile #2: Completed, “Happy Birthday”As rendered in the National History Day Webinar, October 21, 2020


WHO


Yes, identifiable1 musicianFemaleMelanieWebinar participants

WHAT(Sound)




Sound—Voice

No whistling, no humming.Yes, singing.Words, yes; Language: English or English Creole; Meaning is understandable

Sound—Beyond the Voice

Line 1—no, just singingLine 2—clapping rhythm

WHAT(Result)

Song• Language




Song

LYRICS, Line 1—Happy Birthday to youLYRICS, Line 2—Happy Birthday to youLYRICS, Line 3—Happy Birthday, National History DayLYRICS, Line 4—Happy Birthday to you.

Movement

Line 3—ConductingLine 4—Cuing participants

WHEN



WHERE Via computer

WHY To celebrate a birthday

Sound Profile #3: Template, “Happy Birthday”As rendered at a Chicago Pentecostal Church Service, 1977


WHO


WHAT(Sound)





WHAT(Result)

Song• Language




Song

LYRICS, Line 1LYRICS, Line 2LYRICS, Line 3LYRICS, Line 4

Movement

Line 1Line 2Line 3Line 4

WHEN


?? Sunday??1977NoYes, in the context of a worship service

WHERE Chicago, Illinois, at a Pentecostal church

Sound Profile #4: Comparison, “Happy Birthday”Rendering 1, National History Day Webinar, October 21, 2020 // Rendering 2, Chicago Pentecostal Church Service, 1977

NHD: 10.21.2020 Pentecostal Church Service: 1977


Yes, identifiable by soundMore than 1 musician, total number unknown (2 main singers, possible audience)1 female, 1 male, possibly members of a congregationUnknown from recordingMembers of congregation

No whistling, no humming.Yes, singing.Words, yes; Language: English; Meaning is understandable

LYRICS, Line 1—Happy Birthday to youLYRICS, Line 2—Happy Birthday to youLYRICS, Line 3—Happy Birthday, Dear National History DayLYRICS, Line 4—Happy Birthday to you.


LYRICS, Line 1—Happy Birthday to youLYRICS, Line 2—Happy Birthday to youLYRICS, Line 3—Happy Birthday, God Bless YouLYRICS, Line 4—Happy Birthday to you.

Line 1—just singingLine 2—clapping rhythmLine 3—ConductingLine 4—Cuing participants

No clappingNo stompingNo pattingNo tappingYes, guitarUnknown, conductingUnknown, cuing


unknown1977NoYes, in the context of a worship service

Via computer Chicago, Illinois, at a Pentecostal church

Field NotesChurch service at Northside United Pentecostal Church, Chicago, Illinois, part 1

Notes

- Northside Pentacostal (In Church), part 1

- Part 1 of a 4-part recording of the Sunday service at Northside Pentecostal Church, 1527 E. Edgewater Ave. in

the Edgewater neighborhood; the leader and pastor was Bobby Goddard; recorded on a stereo Nagra IV with a

Sennheiser 402 microphone at the pulpit and, for most of the recording, a second Sennheiser 402 directed

toward the congregation, with some variation as noted; this part includes Goddard’s greetings, and a prayer with

voiced heard from the congregation; song "We're together again," led by Paul Dean and Joann Bolen, both with

vocal and guitar; hymn "I'll be Somewhere Listening to My Name" (number 25 in the hymnal Pentecostal

Praises) led at the pulpit by a woman with Goddard standing behind her and singing as well; hymn “The

Fullness of Godhead is all in Him” (number 29); Goddard makes a birthday call and a boy and girl come forward

and drop one penny for each year into a glass, as BG rings a little bell, congregation then sings "Happy Birthday

to You"; Goddard states a welcome and transitions to Sunday School; Paul Dean remarks on the making of this

recording (right channel only, the fieldworker then moves one microphone); Dean begins the adult Sunday

School lesson, preceded by a hymn duet by Dean and Bolen (right channel), both playing guitars, "What a

Glorious Day that Will Be"; Dean’s Sunday School lesson, about the Pentecostal doctrine concerning speaking

in tongues, baptism, and the doctrine of the Trinity (right channel only); Dean’s lesson continues in part 2.

Leader, Pastor, SINGER Bobby Goddard

2nd SINGERunidentified woman

2 celebrants:one boy, one girl, unidentified

Congregation singsguitar

Sound Profile #4: Comparison, “Happy Birthday”Rendering 1, National History Day Webinar, October 21, 2020 // Rendering 2, Chicago Pentecostal Church Service, 1977

NHD: 10.21.2020 Pentecostal Church Service: 1977


Yes, identifiable by soundMore than 1 musician, total number unknown (2 main singers, possible audience)1 female, 1 male, possibly members of a congregationUnknown from recordingMembers of congregation

No whistling, no humming.Yes, singing.Words, yes; Language: English or English Creole; Meaning is understandable

LYRICS, Line 1—Happy Birthday to youLYRICS, Line 2—Happy Birthday to youLYRICS, Line 3—Happy Birthday, National History DayLYRICS, Line 4—Happy Birthday to you.


LYRICS, Line 1—Happy Birthday to youLYRICS, Line 2—Happy Birthday to youLYRICS, Line 3—Happy Birthday, God Bless YouLYRICS, Line 4—Happy Birthday to you.

Line 1—just singingLine 2—clapping rhythmLine 3—ConductingLine 4—Cuing participants

No clappingNo stompingNo pattingNo tappingYes, guitarUnknown, conductingUnknown, cuing


unknown1977NoYes, in the context of a worship service

Via computer Chicago, Illinois, at a Pentecostal church

CELEBRATE: National History Day’s 40th Birthday CELEBRATE: Birthdays of two children

Guided Listening and Sound Profiles

• ASSESS • Historical musical situations

• Contemporary musical situations

• DESCRIBE • Musicals sounds

• Creation/performance of sounds

• CONTEXTUALIZE• Role of musicians

• Purpose of the music

• Rationale

Port Royal IslandBeaufort, South Carolina

Trench (Hilton Head Island,South Carolina

St. Simon’s Island,Georgia

Daufowske(Daufuskie) Island

Slave Songs of the United States

Compilers:• William Francis Allen• Charles Pickard Ware• Lucy McKim Garrison

Slave Songs of the United States

“Michael Row the Boat Ashore”

other songs from Sea Islands and region

Slave Songs of the United States: “Michael Row the Boat Ashore”

Slave Songs of the United States: “Michael Row the Boat Ashore”

“boat-song”

CONTEXT: working/rowing

APPLICATION: practical

WHEN: “when the load was heavy or the tide was against us”

WHERE: Beaufort, South Carolina

Slave Songs: Description of “shout”

WHEN: SundaysWHERE: “Praise-house” (church)

“shout”

CONTEXT: ceremony

APPLICATIONS: practical, traditional

• 1867: Publication of Slave Songs of the United States• PURPOSE of a “boat-song”—accompany rowing

• CONTEXT of shouting

• 1877: Recorded invented

• 1890s: Recorded sound becomes more available

Unlocking Rhythms: Uncovering Musical SecretsWhat we do and do not know . . .

Slave Songs of the United States: Transcription issues

. . . difficulty experienced in attaining absolute correctness is

greater than might be supposed . . .

. . .intonations and delicate variations of even one singer cannot be reproduced on paper.

Sound Profile IN PROGRESS: “Michael Row the Boat Ashore”What do we know so far?

BIG QUESTION Historical Version More Recent Versions

WHOPerformers: oarsmenTranscribers: Allen, Ware, Garrison

Pete SeegerFolk musiciansMelanie

WHAT(Sound)

NOT AVAILABLESound recording

AVAILABLETranscription*Description

*compilers note limitations/ problems with transcription

AVAILABLELibrary of Congress has resources related to multiple contexts in which “Michael” has been found (dated ca. 1950s—current)

WHAT(Result)

Result of Singing: SONG with multiple lyrics

Purpose of Song: to keep oarsmen rowing in unison

Result of Singing: SONG Purpose of Song:Depends on context—

WHENGeneral: prior to 1867General: While rowingSpecific: “When the load was heavy or the tide was against us”

General: 1950s, beginning with the American Folk Music RevivalSpecific: multiple

WHEREPort Royal Island, South CarolinaBetween Beaufort, South Carolina, and other ports

Multiple: depends on context

WHY To keep oarsmen rowing in unison Multiple: depends on context

Library Catalog: Keyword Searching

A. H . Stoddard Collection of Gullah Recordings

Alan Lomax, Zora Neale Hurston, and Mary Elizabeth BarnicleExpedition Collection

A. H Stoddard collection of Gullah recordings

Alan Lomax, Zora Neale Hurston, and Mary Elizabeth Barnicle expedition collection*

Voices Remembering Slavery

Wallace Quarterman: Beginning of Transcript

I Surrender

Oh, let me come on i-in. I surrender, and open the door. Let me come in open up. Yeah, let me come i-inn. Oh, let me come i-i-i-innn. I surrender, yes open the door, and let me come in. I said baby don't you cry, mothers and father are born to die. I surrender [recording gets stuck]. Oh, let me come i-inn. I surrender and open the door and let me come in.

Wallace Quarterman, Frederica, Georgia, June 1935

Lomax Collection of Photographs depicting musicians, primarily in the southern United States and the BahamasLibrary of Congress Prints and Photographs Division

Sound Profile IN PROGRESS: “Michael Row the Boat Ashore”What do we know so far?

• HISTORICAL RESOURCES• 1867 transcription, description

• 1935 sound recording of formerly enslaved Sea Islander

• ORAL HISTORY/ PERSONAL MEMORIES

• KNOWLEDGE OF RECENT USES

• ACCESS TO DOCUMENTATION

• ADDITIONAL KEYWORDS• Daufuskie, South Carolina

• St. Simon’s Island, Georgia

• Gullah-Geechee

• Shout

https://guides.loc.gov/

https://guides.loc.gov/gullah-geechee-history/introduction

Gullah/Geechee people of today are descendants of enslaved Africans . . . Forced to work on the plantations of . . . South Carolina, Georgia . .

https://guides.loc.gov/gullah-geechee-history

https://guides.loc.gov/gullah-geechee-history/digital-collections

https://guides.loc.gov/gullah-geechee-folklife/collection-highlights

McIntosh County ShoutersHome Grown Concert Series, Library of Congress, 2010

McIntosh County ShoutersDiscussion of Shout

McIntosh County ShoutersDiscussion of “Gullah,” Performance of Shout “Move Daniel”

Sound Profile #5: In Progress, ShoutingAs rendered at by the McIntosh County Singers, 2010 (Library of Congress)


WHO

Possibility of Musician Identification Quantity of Musician(s)Gender of Musician(s)Name of Musician(s)

WHAT(Sound)




WHAT(Result)

Song• Language

Word Comprehension MeaningUnique Characteristics

Movement

WHEN: VIDEO 2010 WHEN: HISTORICAL CONTEXT

WHERE: VIDEO Library of Congress WHERE: HISTORICAL CONTEXT

yes

4 male; 5 female, (1 female narrator)

9+ 1 narrator

Group:McIntosh County Singers

Yes, with words

Yes, describe: Yes, describe:

Yes, describe: Yes, describe:

No, but stick keeps the beat

• Some performers stand in one place, while clapping, sing, stomping, beating stick

• Some performers shuffle in a ring

GullahShout

Selected Additional Resources (with an emphasis on teaching and/or audiovisual materials)

• American Folklife Center• https://www.loc.gov/folklife/

• Music Division• https://www.loc.gov/rr/perform/

• Teaching with the Library of Congress• http://blogs.loc.gov/teachers/• https://www.loc.gov/programs/teachers/about-this-program/

Questions?

Please complete our feedback survey:https://tinyurl.com/NHDwebinars

• Field notes—set of descriptive information about a recording made on location

• Field recording—recording made on location

• Genre—category (in our case, “boat-song” is a genre, or category, of song)

• Lyrics—words of a song

• Metadata—set of technical information about an item (in our case, about an archival collection)

• Scope notes—set of descriptive information about an item (in our case, about an archival collection)

• Rhythm—repeated pattern of sound or movement

• Song—piece of music that contains words

• Tempo—speed or pacing of sound

• Transcription—process and result of writing down what was heard

Unlocking Rhythms: Uncovering Musical SecretsGlossary

• Ask a Librarian: American Folklife Center

• https://ask.loc.gov/american-folklife/

• Library of Congress Catalog

• https://catalog.loc.gov/

• Index of Library of Congress Research Guides

• https://guides.loc.gov

• Selected Gullah-Geechee Research Guides

• https://guides.loc.gov/gullah-geechee-history/introduction

• https://guides.loc.gov/gullah-geechee-folklife/collection-highlights

Unlocking Rhythms: Uncovering Musical SecretsLinks to Resources

unlocking rhythms from the american folklife center archives

Documents