music tells the old Timey Stories Of Life
1890-1933 HISTORIC TIME LINE
CURRENT PLAYGROUND SONGS PLACED IN THE NCFR ARCHIVE
NURSERY RHYMES - Mary Had A Little Lamb <>Hey Diddle Diddle <> Diddle Diddle Dumpling <> Jack Sprat <> Old King Cole <> Georgie Porgie
Draw Me a Bucket of Water
From: Put Your Hand On Your Hip, and Let Your Backbone Slip: Songs and Games from the Georgia Sea Islands -2001 (ROUN11587)
Bessie Jones Disc 1, Track # 16
http://hurl.samples.dmpcontent.com/scripts/hurl.do?clipid=028347601160006910&cid=010026
Roger McGuinn Folk Den - Free songs you can hear then sing yourslef. About Roger McGuinn
2007 ESL Podcast English Cafe - Topics: Route 66, playground games for children, on time versus in time, counting seconds using Mississippi, to knock yourself out.
Amature Collection of Girl Scout Songs - 688 pages
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1939 Lomax's expedition to the Southern States Library of Congress audio Files - Recordings of Children's Songs
Songs are sung by the kids
Al corre y corre - All Around the Green Apple Tree - All the Pretty Little Horses - All the Pretty Little Horses - All the Way Round - All Those Pretty Little Horses - Black-snake Bit Me, I Don't Keer - Bluebird - Bring Me a Gourd to Drink Water - Candy Gal - Carrie - Children of America - Come on, Willie - Come Through the Sawmill - Come up, Horsey, Hey, Hey - Crawdad - Crawfish Pond - Crows in the Garden - Di-de-oh - [Diez perritos pequeños]
1933 -- John Lomax and his son Alan travel 16,000 miles in four months, recording country, blues and work songs, mainly in southern penitentiaries; they meet Lead Belly shortly before his release from prison.
1930 Classic Louisiana Recordings, Cajun & Creole Music:
A series devoted to the recordings by Alan Lomax and John Lomax in Louisiana
Listen to 4 French songs sung by Elita, Mary & Ella Hoffpauir
1928--The first Cajun recordings are made by accordionists Joe Falcon (in the Acadian style) and Amede Ardoin (in the black French Creole style); the latter is eventually known as zydeco.
1927--Victor Records' Ralph Peer goes to Bristol, Tennessee and records 19 proto-country music artists in two weeks, discovering Jimmie Rodgers and The Carter Family. |
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1920--Mamie Smith and her Jazz Hounds record "Crazy Blues" for OKeh, the first blues recording by a black singer, triggering an enormous popular demand for blues recordings and "race" records.
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TRAVEL WEST THE FIRST WAGON TRAIN WAS LED BY AN IRISH SCOUT.
1910 Song archivist John Lomax publishes his first book, Cowboy Songs and Frontier Ballads, consisting of songs he gathered traveling through Texas, including "Home on the Range" page 39.
1902--The era of the flat disc recording begins when the Columbia and Victor companies arrive at 7-inch and 10-inch formats for the newly-designed records. |
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Listen to this collection of 78rpm records and cylinder recordings released in the early 20th century. These recordings were contributed to the Archive by users through the Open Source Audio collection.
1890 - Jesse Walter Fewkes records the Passamaquoddy Indians off the coast of Maine. This is the first field use of the newly-invented recording machine. SEE HYMES
Bit Torrent 1000 songs 1888 - 1919 popular ard rare: including use Azureus for torrents. Cindy 1923, Turkey in the Straw 1904, Molly Malone 1920, Pop Goes the Weasel 1902, Annie Laurie 1916, Old Dan Tucker 1910, Auld Lang Syne 1890, My old Kentucky Home 1918
1888 Internet Archive: Welcome to the Archive's audio and MP3 library. This library contains over a hundred thousand free digital recordings ranging from alternative news programming, to Grateful Dead concerts, to Old Time Radio shows, to book and poetry readings, to original music uploaded by our users. Many of these audios and MP3s are available for free download. The Lost Chord - Thomas Alva Edison
Hear The Golden Wedding Song - married 60 years.
Digitation Project Preparation This series of resource papers provides information to help guide you as you review and select collections for your digitization projects. The papers focus on issues to consider as you select, organize, handle and prepare collection items for conversion to digital formats.
Musa Pedestris - Three Centuries of Canting Songs and Slang Rhymes [1536 - 1896] by John S. Farmer
Work Songs. By Ted Gioia. 2006. Durham: Duke University Press. 368
pages. ISBN: 978-0-8223-3726-3 (soft cover).
Reviewed by Maura Kealey, Independent Scholar
This is a wonderful book. Work Songs invites the reader into the best
of two worlds -- serious theory and fun content. It is written in a
clear and easy style, sprinkled here and there with verbal wit and
passionate eloquence.
Gioia's study takes issue with two assumptions that have dominated
our culture's approach to art and music. The first is the
"separability principle," or the idea that art is (and should be)
"useless," entirely divorced from ordinary life. The second is the
principle of progress, or the belief that art evolves upward from one
generation to the next. Work Songs rebuts both assumptions by
exploring the history of the ways that music has "enchanted and
transformed our everyday existence." Gioia suggests an alternative
framework, a "'connectedness principle'. . .that all music creates
linkages with our daily lived experiences, and that this is its
greatest blessing for us."
The first part of the book is organized chronologically, following
the evolution of work. It begins with evidence from the Lascaux caves
that paintings were placed in hard-to-reach locations with the best
acoustics, suggesting a role for music in the lives of pre-historic
hunters. We then travel through the diverse worlds, and types of work
song, of the cultivator, the herder, and the pre-industrial weaver. A
pivotal chapter, "The New Rhythms of Work," introduces the central
role of music after "the pulse of labor [no longer] mimicked the
rhythms of nature." Clocks told time, and music -- church bells,
drums, singers, trumpets -- conveyed the new order of life to
workers.
Gioia's use of many diverse sources, such as historians' and
travelers' accounts, becomes a dialogue with other folklorists and
ethnomusicologists in a series of topical chapters on the work and
music of sailors, lumberjacks, cowboys, miners, and prisoners. LomaxWe learn a lot about the journeys and collections of the Lomaxes, father
and son, and their various folklore critics and admirers. For anyone who grew up listening to Tennessee Ernie Ford singing "16 Tons", the
chapter "Take This Hammer!" is a fascinating historical-detective
inquiry into competing claims about who John Henry really was, and
the ambivalence of what his strength, and the hammer, meant. Nor is
the labor movement forgotten -- music by the IWW's Joe Hill, as well
as others whose songs served to inspire and unite masses of striking
workers who did not speak the same languages, are placed in the
musical tradition of utopian visionaries dating back to the early
nineteenth century.
Gioia's definition of work songs is expansive -- it includes not only
the anonymous "folk" songs sung by workers while working, but also
music performed by workers off the job (factory towns with large
brass bands), songs written by non-workers about work ("Take this Job
and Shove It"), and commercial music played in the workplace -- from
Muzak, engineered to enhance the modern rhythms of work, to auto
workers insisting on their boom boxes, blaring rock and roll over the
deafening noise of the assembly line.
This brief review hardly does justice to the intriguing philosophical
debates about the nature of music and its role in human life that
recur as the book moves through centuries of work and music. One
example: the role of music as a "change agent." Gioia discusses the
scientific research about how athletes achieve "peak performance" --
or the "flow state" of consciousness -- and shows how in many
different work contexts and musical traditions, singing together can
induce that "extraordinary effortlessness" of work.
The epilogue begins by quoting William Morris: "Art is man's
expression of his joy in labor." The opposing view is Abraham
Maslow's postulation that "self-actualization," the highest human
need, is an atomized individual's responsiveness to his inner muse.
Gioia takes us back to the call-and-response of the classic work song to argue that achieving the highest human potential is not individual and isolating, but communal and connecting. "The work song, with its emphasis on community, its integration of individual efforts into a more powerful whole, and its focus on mastery over the immediate demands of the here and now, reminds us of a different set of attitudes to life and labor."