We will begin at the top of the hour. Housekeeping Q&A Box - - PowerPoint PPT Presentation

Unlocking Rhythms from the American Folklife Center Archives

Melanie Zeck, American Folklife Center

Thank 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 Secrets

Considerations

Unlocking Rhythms: Uncovering Musical Secrets

Unguided 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 Secrets

Two-part premise

QUANTITATIVE QUESTIONS*

• Who?
• What?
• When?
• Where?

QUALITATIVE QUESTIONS*

• Why?
• How?

Unlocking Rhythms

Musical 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 Identification Quantity of Musician(s) Gender of Musician(s) Name of Musician(s) Audience Profile

WHAT (Sound)

Sound—Voice

• Whistling
• Humming
• Singing

Generic Syllables Words Sound—Beyond the Voice

• Clapping
• Stomping
• Patting
• Tapping
• Playing an Instrument

Sound—Voice Sound—Beyond the Voice

WHAT (Result)

Song

• Language

Word Comprehension Meaning

• Unique Characteristics

Movement

• Conducting
• Cuing participants

Song Movement

WHEN

Specific Day Specific Date As part of a season As 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

BIG QUESTION More Specific Questions Observations WHO

Possibility of Musician Identification Quantity of Musician(s) Gender of Musician(s) Name of Musician(s) Audience Profile Yes—identifiable; musician is audible and visible One musician Female Melanie Webinar participants

WHAT (Sound)

Sound—Voice

• Whistling
• Humming
• Singing

Generic Syllables Words Sound—Beyond the Voice

• Clapping
• Stomping
• Patting
• Tapping
• Playing an Instrument

Sound—Voice Whistling, no Humming, only first time Singing, yes Generic syllables, no Words, yes; Sound—Beyond the Voice No Clapping No Stomping No Patting No Tapping No Instrument

WHAT (Result)

Song

• Language

Word Comprehension Meaning

• Unique Characteristics

Movement

• Conducting
• Cuing participants

Song Language: English or English Creole; Meaning is understandable Movement No movement

WHEN

Specific Day Specific Date As part of a season As part of a reason Wednesday October 21, 2020 No Yes, 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

BIG QUESTION More Specific Questions Observations WHO

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

WHAT (Sound)

Sound—Voice

• Whistling
• Humming
• Singing

Generic Syllables Words Sound—Beyond the Voice

• Clapping
• Stomping
• Patting
• Tapping
• Playing an Instrument

Sound—Voice Sound—Beyond the Voice

WHAT (Result)

Song

• Language

Word Comprehension Meaning

• Unique Characteristics

Movement

• Conducting
• Cuing participants

Song LYRICS, Line 1 LYRICS, Line 2 LYRICS, Line 3 LYRICS, Line 4 Movement Line 1 Line 2 Line 3 Line 4

WHEN

Specific Day Specific Date As part of a season As part of a reason

WHERE WHY

Sound Profile #2: Completed, “Happy Birthday”

As rendered in the National History Day Webinar, October 21, 2020

BIG QUESTION More Specific Questions Observations WHO

Possibility of Musician Identification Quantity of Musician(s) Gender of Musician(s) Name of Musician(s) Audience Profile Yes, identifiable 1 musician Female Melanie Webinar participants

WHAT (Sound)

Sound—Voice

• Whistling
• Humming
• Singing

Generic Syllables Words Sound—Beyond the Voice

• Clapping
• Stomping
• Patting
• Tapping
• Playing an Instrument

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 singing Line 2—clapping rhythm

WHAT (Result)

Song

• Language

Word Comprehension Meaning

• Unique Characteristics

Movement

• Conducting
• Cuing participants

Song LYRICS, Line 1—Happy Birthday to you LYRICS, Line 2—Happy Birthday to you LYRICS, Line 3—Happy Birthday, National History Day LYRICS, Line 4—Happy Birthday to you. Movement Line 3—Conducting Line 4—Cuing participants

WHEN

Specific Day Specific Date As part of a season As part of a reason Wednesday October 21, 2020 No Yes, for a National History Day Webinar

WHERE

Via computer

WHY

To celebrate a birthday

Sound Profile #3: Template, “Happy Birthday”

As rendered at a Chicago Pentecostal Church Service, 1977

BIG QUESTION More Specific Questions Observations WHO

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

WHAT (Sound)

Sound—Voice

• Whistling
• Humming
• Singing

Generic Syllables Words Sound—Beyond the Voice

• Clapping
• Stomping
• Patting
• Tapping
• Playing an Instrument

Sound—Voice Sound—Beyond the Voice

WHAT (Result)

Song

• Language

Word Comprehension Meaning

• Unique Characteristics

Movement

• Conducting
• Cuing participants

Song LYRICS, Line 1 LYRICS, Line 2 LYRICS, Line 3 LYRICS, Line 4 Movement Line 1 Line 2 Line 3 Line 4

WHEN

Specific Day Specific Date As part of a season As part of a reason

?? Sunday?? 1977 No Yes, 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 1 musician Female Melanie Webinar participants Yes, identifiable by sound More than 1 musician, total number unknown (2 main singers, possible audience) 1 female, 1 male, possibly members of a congregation Unknown from recording Members of congregation No whistling, no humming. Yes, singing. Words, yes; Language: English; Meaning is understandable LYRICS, Line 1—Happy Birthday to you LYRICS, Line 2—Happy Birthday to you LYRICS, Line 3—Happy Birthday, Dear National History Day LYRICS, Line 4—Happy Birthday to you. No whistling, no humming. Yes, singing. Words, yes; Language: English; Meaning is understandable LYRICS, Line 1—Happy Birthday to you LYRICS, Line 2—Happy Birthday to you LYRICS, Line 3—Happy Birthday, God Bless You LYRICS, Line 4—Happy Birthday to you. Line 1—just singing Line 2—clapping rhythm Line 3—Conducting Line 4—Cuing participants No clapping No stomping No patting No tapping Yes, guitar Unknown, conducting Unknown, cuing Wednesday October 21, 2020 No Yes, for a National History Day Webinar unknown 1977 No Yes, in the context of a worship service Via computer Chicago, Illinois, at a Pentecostal church

Field Notes

Church 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 SINGER unidentified woman 2 celebrants:

• ne boy, one girl, unidentified

Congregation sings guitar

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 1 musician Female Melanie Webinar participants Yes, identifiable by sound More than 1 musician, total number unknown (2 main singers, possible audience) 1 female, 1 male, possibly members of a congregation Unknown from recording Members of congregation No whistling, no humming. Yes, singing. Words, yes; Language: English or English Creole; Meaning is understandable LYRICS, Line 1—Happy Birthday to you LYRICS, Line 2—Happy Birthday to you LYRICS, Line 3—Happy Birthday, National History Day LYRICS, Line 4—Happy Birthday to you. No whistling, no humming. Yes, singing. Words, yes; Language: English; Meaning is understandable LYRICS, Line 1—Happy Birthday to you LYRICS, Line 2—Happy Birthday to you LYRICS, Line 3—Happy Birthday, God Bless You LYRICS, Line 4—Happy Birthday to you. Line 1—just singing Line 2—clapping rhythm Line 3—Conducting Line 4—Cuing participants No clapping No stomping No patting No tapping Yes, guitar Unknown, conducting Unknown, cuing Wednesday October 21, 2020 No Yes, for a National History Day Webinar unknown 1977 No Yes, 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 Island

Beaufort, 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”

• ther 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: Sundays WHERE: “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 Secrets

What 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 WHO

Performers: oarsmen Transcribers: Allen, Ware, Garrison Pete Seeger Folk musicians Melanie

WHAT (Sound)

NOT AVAILABLE Sound recording AVAILABLE Transcription* Description *compilers note limitations/ problems with transcription AVAILABLE Library 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

• arsmen rowing in unison

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

WHEN

General: prior to 1867 General: While rowing Specific: “When the load was heavy or the tide was against us” General: 1950s, beginning with the American Folk Music Revival Specific: multiple

WHERE

Port Royal Island, South Carolina Between 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
• f Gullah Recordings

Alan Lomax, Zora Neale Hurston, and Mary Elizabeth Barnicle Expedition 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

• pen 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 Bahamas Library 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

• f today are

descendants of enslaved Africans . . . Forced to work on the plantations

• f . . . 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 Shouters

Home Grown Concert Series, Library of Congress, 2010

McIntosh County Shouters

Discussion of Shout

McIntosh County Shouters

Discussion of “Gullah,” Performance of Shout “Move Daniel”

Sound Profile #5: In Progress, Shouting

As rendered at by the McIntosh County Singers, 2010 (Library of Congress)

BIG QUESTION More Specific Questions Observations WHO

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

WHAT (Sound)

Sound—Voice

• Whistling
• Humming
• Singing

Generic Syllables Words Sound—Beyond the Voice

• Clapping
• Stomping
• Patting
• Tapping
• Playing an Instrument

WHAT (Result)

Song

• Language

Word Comprehension Meaning Unique 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

Gullah Shout

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?

Ple lease 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 Secrets

Glossary

• 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 Secrets

Links to Resources