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001 ocm52145518;

003 OCoLC;

005 20141212172320.0;

008 030325s2003 enk b 001 0 eng ;

020 a| 0197262880;

035 a| (Sirsi) o52145518;

035 a| (OCoLC)52145518;

049 a| EREM;

050 4 a| ML3545b| .C668 2003;

082 04 a| 782.421622| 21;

100 1 a| Constantine, Mary-Ann.=| ^A562376;

245 10 a| Fragments and meaning in traditional song :b| from the blues to the Baltic /c| by Mary-Ann Constantine & Gerald Porter ; with a foreword by Barre Toelken.;

300 a| xiii, 261 pages ;c| 25 cm.;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

490 1 a| A British Academy postdoctoral fellowship monograph;

504 a| Includes bibliographical references (pages 239-253) and indexes.;

505 0 a| Introduction -- 1. Centaur-songs: Romanticism and broken forms -- 2. Singing the unspeakable -- 3. 'God was in France all Friday': incoherence from the inside -- 4. Sea-changes: minimal texts as regenerative forms -- 5. Forgetting as in(ter)vention: memory and context in very short songs -- 6. Beating time: resistance and the subaltern voice in prison work songs -- 7. Fragments and fringes: the view from the centre -- 8. The intertextuality of the song fragment -- Intertexts: contexts.;

520 a| This book takes a radical approach to the study of traditional songs. Folk song scholarship was originally obsessed with notions of completeness and narrative coherence; even now long narratives hold a privileged place in most folk song canons. Yet field notebooks and recordings (and, increasingly, publications) overwhelmingly suggest that apparently 'broken' and drastically shortened versions are not perceived as incomplete by those who sing them. Dealing with a wide range of traditions and languages, this study turns the focus on these 'dog-ends' of oral tradition, and looks closely at how very short texts convey meaning in performance by working the audience's knowledge of a highly allusive idiom. What emerges is the tenacity of meaning in the connotative and metaphorical language of traditional song, and the extraordinary adaptability of songs in different cultural contexts. Such pieces have a strong metonymic force: they should not be seen as residual 'last leaves' of a once-complete tradition, but as dynamic elements in the process of oral transmission.;

650 0 a| Folk songsx| History and criticism.=| ^A31242;

650 0 a| Oral tradition.=| ^A68923;

700 1 a| Porter, Gerald,d| 1946-=| ^A490137;

700 1 a| Toelken, Barre,d| 1935-2018e| writer of foreword.=| ^A356697;

830 0 a| British Academy postdoctoral fellowship monograph.=| ^A419257;

994 a| X0b| ERE;

596 a| 3;

998 a| 923544;

999 a| ML3545 .C668 2003w| LCc| 1i| 30372012096712d| 7/28/2016e| 7/25/2016f| 4/12/2024g| 4l| MSTm| JMUSICn| 5p| $50.40q| 1r| Ys| Yt| MGESBKu| 10/27/2003x| BOOKz| MCIRCo| .STAFF. enhanced 10/11/23 -jjab;

Fragments and meaning in traditional song : from the blues to the Baltic / by Mary-Ann Constantine & Gerald Porter ; with a foreword by Barre Toelken.

Author/creator	Constantine, Mary-Ann
Other author	Porter, Gerald, 1946-
Other author	Toelken, Barre, 1935-2018 writer of foreword.
Format	Book
Publication Info	Oxford ; New York : Published for the British Academy by Oxford University Press, ©2003.
Description	xiii, 261 pages ; 25 cm.
Subjects	Folk songs--History and criticism. Oral tradition.

Series	A British Academy postdoctoral fellowship monograph British Academy postdoctoral fellowship monograph. ^A419257
Contents	Introduction -- 1. Centaur-songs: Romanticism and broken forms -- 2. Singing the unspeakable -- 3. 'God was in France all Friday': incoherence from the inside -- 4. Sea-changes: minimal texts as regenerative forms -- 5. Forgetting as in(ter)vention: memory and context in very short songs -- 6. Beating time: resistance and the subaltern voice in prison work songs -- 7. Fragments and fringes: the view from the centre -- 8. The intertextuality of the song fragment -- Intertexts: contexts.
Abstract	This book takes a radical approach to the study of traditional songs. Folk song scholarship was originally obsessed with notions of completeness and narrative coherence; even now long narratives hold a privileged place in most folk song canons. Yet field notebooks and recordings (and, increasingly, publications) overwhelmingly suggest that apparently 'broken' and drastically shortened versions are not perceived as incomplete by those who sing them. Dealing with a wide range of traditions and languages, this study turns the focus on these 'dog-ends' of oral tradition, and looks closely at how very short texts convey meaning in performance by working the audience's knowledge of a highly allusive idiom. What emerges is the tenacity of meaning in the connotative and metaphorical language of traditional song, and the extraordinary adaptability of songs in different cultural contexts. Such pieces have a strong metonymic force: they should not be seen as residual 'last leaves' of a once-complete tradition, but as dynamic elements in the process of oral transmission.
Bibliography note	Includes bibliographical references (pages 239-253) and indexes.
ISBN	0197262880

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Music	Music Stacks	ML3545 .C668 2003	✔ Available	Place Hold

Fragments and meaning in traditional song : from the blues to the Baltic / by Mary-Ann Constantine & Gerald Porter ; with a foreword by Barre Toelken.

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