Performing Englishness examines the growth in popularity and profile of the English folk arts in the first decade of the twenty-first century. In the only study of its kind, the authors explore how the folk resurgence speaks to a broader explosion of interest in the subject of English national and cultural identity. Combining approaches from British cultural studies and ethnomusicology, the book draws on ethnographic fieldwork, interviews with central figures of the resurgence and close analysis of music and dance as well as visual and discursive sources. Its presentation of the English case study calls for a rethinking of concepts such as revival and indigeneity. It will be of interest to students and scholars in cultural studies, ethnomusicology and related disciplines. -- .

I've Always Kept a Unicorn tells the story of Sandy Denny, one of the greatest British singers of her time and the first female singer-songwriter to produce a substantial and enduring body of original songs. Sandy Denny laid down the marker for folk-rock when she joined Fairport Convention in 1968, but her music went far beyond this during the seventies. After leaving Fairport she formed Fotheringay, whose influential eponymous album was released in 1970, before collaborating on a historic one-off recording with Led Zeppelin - the only other vocalist to record with Zeppelin in their entire career - and releasing four solo albums across the course of the decade. Her tragic and untimely death came in 1978. Sandy emerged from the folk scene of the sixties - a world of larger-than-life characters such as Alex Campbell, Jackson C. Frank, Anne Briggs and Australian singer Trevor Lucas, whom she married in 1973. Their story is at the core of Sandy's later life and work, and is told with the assistance of more than sixty of her friends, fellow musicians and contemporaries, one of whom, to paraphrase McCartney on Lennon, observed that she sang like an angel but was no angel.

Preeminant gamelan performer and scholar Sumarsam explores the concept of hybridity in performance traditions that have developed in the context of Javanese encounters with the West. Javanese Gamelan and the West studies the meaning, forms, and traditions of the Javanese performing arts as they developed and changed through their contact with Western culture. Authored by a gamelan performer, teacher, and scholar, the book traces the adaptations in gamelan art as a result of Western colonialism in nineteenth-century Java, showing how Western musical and dramatic practices were domesticated by Javanese performers creating hybrid Javanese-Western art forms, such as with the introduction of brass bands in gendhing mares court music and West Javanese tanjidor, and Western theatrical idioms in contemporary wayang puppet plays. The book also examines the presentation of Javanese gamelan to the West, detailing performances in World's Fairs and American academia and considering its influence on Western performing arts and musical and performance studies. The end result is a comprehensive treatment of the formation of modern Javanese gamelan and a fascinating look at how an art form dramatizes changes and developments in a culture. Sumarsam is a University Professor of Music at Wesleyan University. He is the author of Gamelan: Cultural Interaction and Musical Development in Central Java (University of Chicago Press, 1995) and numerous articles in English and Indonesian. As a gamelan musician and a keenamateur dhalang (puppeteer) of Javanese wayang puppet play, he performs, conducts workshops, and lectures throughout the US, Australia, Europe, and Asia.

Richly ethnographic and a compelling read, After the Dance, the Drums Are Heavy is a study of carnival, politics, and the musical engagement of ordinary citizens and celebrity musicians in contemporary Haiti. The book explores how the self-declared president of konpa Sweet Micky (Michel Martelly) rose to the nation's highest office while methodically crafting a political product inherently entangled with his musical product. It offers deep historical perspective on the characteristics of carnivalesque verbal play-and the performative skillset of the artist (Sweet Micky) who dominated carnival for more than a decade-including vulgarities and polemics. Yet there has been profound resistance to this brand of politics led by many other high-profile artists, including Matyas and Joj, Brothers Posse, Boukman Eksperyans, and RAM. These groups have each released popular carnival songs that have contributed to the public's discussions on what civic participation and citizenship in Haiti can and should be. Drawing on more than a decade and a half of ethnographic research, Rebecca Dirksen presents an in-depth consideration of politically and socially engaged music and what these expressions mean for the Haitian population in the face of challenging political and economic circumstances. After the Dance, the Drums Are Heavy centers the voices of Haitian musicians and regular citizens by extensively sharing interviews and detailed analyses of musical performance in the context of contemporary events well beyond the musical realm.

This series of books comprises a major social and cultural history of Britain, reflected through the prism of music - mostly folk music. It amounts to a hidden history of both Britain and music, and is part oral history and part incisive criticism, with a fair amount of humour thrown in. The ten part series is based on the life of 90-year-old Bill Leader, the prolific sound engineer and producer, who was the first to record Bert Jansch, the Watersons, Anne Briggs, Nic Jones and Connollys Billy and Riognach, and among the last to record Jeannie Robertson, Fred Jordan and Walter Pardon. Bill straddled the golden age of traditional singing and the folk revival. He agreed to the biographical treatment if due prominence be given to colleagues who may have since slipped from the world's eyes. Through the series, a parade of the great and good come and go. These include Paul Simon, Brendan Behan, Pink Floyd and Christy Moore, all recorded by Bill at one time or another. Secrets, surprises and heresies are rife and something jaw dropping happens at least every four pages. Each book comes with illustrations by PETER SEAL and rare photographs.

A series of little books of short carefully graded folk tunes beginning with the simplest passages and progressing to more difficult leaps, rhythms, chromatics, and modulations. The later books introduce two-part sight singing.

This--the performers' edition of the massive New Oxford Book of Carols--is a selection of 120 carols in 173 different settings. The music, which is divided into composed carols and traditional carols, covers nine centuries of Christmas music from around the world. Popular and unknown material is included: the settings are straightforward and each carol is accompanied by a note on historical background. The emphasis is on the fresh approach to the carol, and the editors have cleared away the accretions of years to recapture the original spirit and vigor of the music. Selections from the book are featured on EMI Classic's recordings "The Carol Album," "The Christmas Album," and "Carol Album 2," performed by the Taverner Consort, Choir, and Players under the direction of Andrew Parrott.

Contributions by Joshua Coleman, Christine Hand Jones, Kevin C. Neece, Charlotte Pence, George Plasketes, Jeffrey Scholes, Jeff Sellars, Toby Thompson, and Jude Warne After performing with Ronnie Hawkins as the Hawks (1957-1964), The Band (Rick Danko, Garth Hudson, Richard Manuel, Robbie Robertson, and Levon Helm) eventually rose to fame in the sixties as backing musicians for Bob Dylan. This collaboration with Dylan presented the group with a chance to expand musically and strike out on their own. The Band's fusion of rock, country, soul, and blues music-all tinged with a southern flavor and musical adventurousness-created a unique soundscape. The combined use of multiple instruments, complex song structures, and poetic lyrics required attentive listening and a sophisticated interpretive framework. It is no surprise, then, that they soon grew to be one of the biggest bands of their era. In Rags and Bones: An Exploration of The Band, scholars and musicians take a broad, multidisciplinary approach to The Band and their music, allowing for examination through sociological, historical, political, religious, technological, cultural, and philosophical means. Each contributor approaches The Band from their field of interest, offering a wide range of investigations into The Band's music and influence. Commercially successful and critically lauded, The Band created a paradoxically mythic and hauntingly realistic lyrical landscape for their songs-and their musicianship enlarged this detailed landscape. This collection offers a rounded examination, allowing the multifaceted music and work of The Band to be appreciated by audiences old and new.

Istanbul is home to a multimillion dollar transnational music industry, which every year produces thousands of digital music recordings, including widely distributed film and television show soundtracks. Today, this centralized industry is responding to a growing global demand for Turkish, Kurdish, and other Anatolian ethnic language productions, and every year, many of its top-selling records incorporate elaborately orchestrated arrangements of rural folksongs. What accounts for the continuing demand for traditional music in local and diasporic markets? How is tradition produced in twenty-first century digital recording studios, and is there a "digital aesthetics" to contemporary recordings of traditional music? In Digital Traditions: Arrangement and Labor in Istanbul's Recording Studio Culture, author Eliot Bates answers these questions and more with a case study into the contemporary practices of recording traditional music in Istanbul. Bates provides an ethnography of Turkish recording studios, of arrangers and engineers, studio musicianship and digital audio workstation kinesthetics. Digital Traditions investigates the moments when tradition is arranged, and how arrangement is simultaneously a set of technological capabilities, limitations and choices: a form of musical practice that desocializes the ensemble and generates an extended network of social relations, resulting in aesthetic art objects that come to be associated with a range of affective and symbolic meanings. Rich with visual analysis and drawing on Science & Technology Studies theories and methods, Digital Tradition sets a new standard for the study of recorded music. Scholars and general readers of ethnomusicology, Middle Eastern studies, folklore and science and technology studies are sure to find Digital Traditions an essential addition to their library.

What do exotic area rugs, handcrafted steel-string guitars, and fiddling have in common today? Many contemporary tradition bearers embrace complexity in form and content. They construct objects and performances that draw on the past and evoke nostalgia effectively but also reward close attention. In Rugs, Guitars, and Fiddling: Intensification and the Rich Modern Lives of Traditional Arts, author Chris Goertzen argues that this entails three types of change that can be grouped under an umbrella term: intensification. First, traditional creativity can be intensified through virtuosity, through doing hard things extra fluently. Second, performances can be intensified through addition, by packing increased amounts of traditional materials into the conventionally sized packages. Third, in intensification through selection, artistic impact can grow even if amount of information recedes by emphasizing compelling ideas-e.g., crafting a red and black viper poised to strike rather than a pretty duck decoy featuring more colors and contours. Rugs handwoven in southern Mexico, luthier-made guitars, and southern US fiddle styles experience parallel changes, all absorbing just enough of the complex flavors, dynamics, and rhythms of modern life to translate inherited folklore into traditions that can be widely celebrated today. New mosaics of details and skeins of nuances don't transform craft into esoteric fine art, but rather enlist the twists and turns and endless variety of the contemporary world therapeutically, helping transform our daily chaos into parades of negotiable jigsaw puzzles. Intensification helps make crafts and traditional performances more accessible and understandable and thus more effective, bringing past and present closer together, helping folk arts continue to perform their magic today.

Explicitly or not, the historical musicology of post-Revolutionary France has focused on Paris as a proxy for the rest of the country. This distorting lens is the legacy of political and cultural struggle during the long nineteenth century, indicating a French Revolution unresolved both then and now. In light of the capital's power as the seat of a centralizing French state (which provincials found 'colonizing') and as a cosmopolitan musical crossroads of nineteenth-century Europe, the struggles inherent in creating sustainable musical cultures outside Paris, and in composing local and regionalist music, are ripe for analysis. Replacement of 'France' with Paris has encouraged normative history-writing articulated by the capital's opera and concert life. Regional practices have been ignored, disparaged or treated piecemeal. This book is a study of French musical centralization and its discontents during the period leading up to and beyond the "provincial awakening" of the Belle Epoque. The book explains how different kinds of artistic decentralization and regionalism were hard won (or not) across a politically turbulent century from the 1830s to World War II. In doing so it redraws the historical map of musical power relations in mainland France. Based on work in over 70 archives, chapters on conservatoires, concert life, stage music, folk music and composition reveal how tensions of State and locality played out differently depending on the structures and funding mechanisms in place, the musical priorities of different communities, and the presence or absence of galvanizing musicians. Progressively, the book shifts from musical contexts to musical content, exploring the pressure point of folk music and its translation into "local color" for officials who perpetually feared national division. Control over composition on the one hand, and the emotional intensity of folk-based musical experience on the other, emerges as a matter of consistent official praxis. In terms of "French music" and its compositional styles, what results is a surprising new historiography of French neoclassicism, bound into and growing out of a study of diversity and its limits in daily musical life.

At the heart of traditional song rest the concerns of ordinary people - the folk. And folk throughout the centuries have found themselves entangled with the law: abiding by it, breaking it, and being caught and punished by it. Who Killed Cock Robin? is an anthology of just such songs compiled by one of Britain's senior judges, Stephen Sedley, and most respected and best-loved folk singers, Martin Carthy. The songs collected here are drawn from manuscripts, broadsides and oral tradition. They are grouped according to the various categories of crime and punishment, from Poaching to The Gallows. Each section contains a historical introduction, and every song is presented with a melody, its lyrics and an illuminating commentary that explores its origins and sources. Together, they present a unique, sometimes comic, often tragic, and always colourful insight into the past, while preserving an important body of song for the pleasure and performance of future generations.

Folk songs are short stories from the souls of common people. Some, like Mexican corridos or Scottish ballads reworked in the Appalachias, are stories of tragic or heroic episodes. Others, like the African American blues, reach from a difficult present back into slavery and forward into a troubled future. Japanese workers in Hawaii's plantations created their own versions, in form more akin to their traditional tanka or haiku poetry. These holehole bushi describe the experiences of one particular group caught in the global movements of capital, empire, and labor during the late nineteenth and early twentieth centuries. In Voices from the Canefields author Franklin Odo situates over two hundred of these songs, in translation, in a hitherto largely unexplored historical context. Japanese laborers quickly comprised the majority of Hawaiian sugar plantation workers after their large-scale importation as contract workers in 1885. Their folk songs provide good examples of the intersection between local work/life and the global connection which the workers clearly perceived after arriving. While many are songs of lamentation, others reflect a rapid adaptation to a new society in which other ethnic groups were arranged in untidy hierarchical order - the origins of a unique multicultural social order dominated by an oligarchy of white planters. Odo also recognizes the influence of the immigrants' rapidly modernizing homeland societies through his exploration of the "cultural baggage" brought by immigrants and some of their dangerous notions of cultural superiority. Japanese immigrants were thus simultaneously the targets of intense racial and class vitriol even as they took comfort in the expanding Japanese empire. Engagingly written and drawing on a multitude of sources including family histories, newspapers, oral histories, the expressed perspectives of women in this immigrant society, and accounts from the prolific Japanese language press into the narrative, Voices from the Canefields will speak not only to scholars of ethnomusicology, migration history, and ethnic/racial movements, but also to a general audience of Japanese Americans seeking connections to their cultural past and the experiences of their most recently past generations.

Bright Star of the West traces the life, repertoire, and influence of Joe Heaney, Ireland's greatest sean-nos ("old style") singer. Born in 1919, Joe Heaney grew up in a politically volatile time, as his native Ireland became a democracy. He found work and relative fame as a singer in London before moving to Scotland. Eventually, like many others searching for greater opportunity, he emigrated to the United States, where he worked as a doorman while supplementing his income with appearances at folk festivals, concerts and clubs. As his reputation and following grew, Heaney gained entry to the folk music scene and began leading workshops as a visiting artist at several universities. In 1982 the National Endowment for the Arts awarded Heaney America's highest honor in folk and traditional arts, the prestigious National Heritage Fellowship. Although Heaney's works did not become truly popular in his homeland until many years after his death, today he is hailed as a seminal figure of traditional song and is revered by those who follow traditional music. Authors Sean Williams and Lillis O Laoire address larger questions about song, identity, and culture. They explore the deep ambivalence both the Irish and Irish-Americans felt toward the traditional aspects of their culture, examining other critical issues, such as gender and masculinity, authenticity, and contemporary marketing and consumption of sean-nos singing in both Ireland and the United States. Comingling Heaney's own words with the authors' comprehensive research and analysis, Bright Star of the West weaves a poignant critical biography of the man, the music, and his continuing legacy in Ireland and the United States.

Harry Belafonte is not just one of the greatest entertainers of our time; he has led one of the great American lives of the last century. Now, this extraordinary icon tells us the story of that life, giving us its full breadth, letting us share in the struggles, the tragedies, and, most of all, the inspiring triumphs.
Belafonte grew up, poverty-ridden, in Harlem and Jamaica. His mother was a complex woman--caring but withdrawn, eternally angry and rarely satisfied. His father was distant and physically abusive. It was not an easy life, but it instilled in young Harry the hard-nosed toughness of the city and the resilient spirit of the Caribbean lifestyle. It also gave him the drive to make good and channel his anger into actions that were positive and life-affirming. His journey led to the U.S. Navy during World War II, where he encountered an onslaught of racism but also fell in love with the woman he eventually married. After the war he moved back to Harlem, where he drifted between odd jobs until he saw his first stage play--and found the life he wanted to lead. Theater opened up a whole new world, one that was artistic and political and made him realize that not only did he have a need to express himself, he had a lot to express.
He began as an actor--and has always thought of himself as such--but was quickly spotted in a musical, began a tentative nightclub career, and soon was on a meteoric rise to become one of the world's most popular singers. Belafonte was never content to simply be an entertainer, however. Even at enormous personal cost, he could not shy away from activism. At first it was a question of personal dignity: breaking down racial barriers that had never been broken before, achieving an enduring popularity with both white and black audiences. Then his activism broadened to a lifelong, passionate involvement at the heart of the civil rights movement and countless other political and social causes. The sections on the rise of the civil rights movement are perhaps the most moving in the book: his close friendship with Martin Luther King, Jr.; his role as a conduit between Dr. King and the Kennedys; his up-close involvement with the demonstrations and awareness of the hatred and potential violence around him; his devastation at Dr. King's death and his continuing fight for what he believes is right.
But "My Song" is far more than the history of a movement. It is a very personal look at the people in that movement and the world in which Belafonte has long moved. He has befriended many beloved and important figures in both entertainment and politics--Paul Robeson, Eleanor Roosevelt, Sidney Poitier, John F. Kennedy, Marlon Brando, Robert Kennedy, Nelson Mandela, Fidel Castro, Tony Bennett, Bill Clinton--and writes about them with the same exceptional candor with which he reveals himself on every page. This is a book that pulls no punches, and turns both a loving and critical eye on our country's cultural past.
As both an artist and an activist, Belafonte has touched countless lives. With "My Song, " he has found yet another way to entertain and inspire us. It is an electrifying memoir from a remarkable man.

"From the Hardcover edition."

Divi Zheni identifies itself as a Bulgarian women's chorus and band, but it is located in Boston and none of its members come from Bulgaria. Zlatne Uste is one of the most popular purveyors of Balkan music in America, yet the name of the band is grammatically incorrect. The members of Sviraci hail from western Massachusetts, upstate New York, and southern Vermont, but play tamburica music on traditional instruments. Curiously, thousands of Americans not only participate in traditional music and dance from the Balkans, but in fact structure their social practices around it without having any other ties to the region. In Balkan Fascination, ethnomusicologist Mirjana Lausevic, a native of the Balkans, investigates this remarkable phenomenon to explore why so many Americans actively participate in specific Balkan cultural practices to which they have no familial or ethnic connection. Going beyond traditional interpretations, she challenges the notion that participation in Balkan culture in North America is merely a specialized offshoot of the 1960s American folk music scene. Instead, her exploration of the relationship between the stark sounds and lively dances of the Balkan region and the Americans who love them reveals that Balkan dance and music has much deeper roots in America's ideas about itself, its place in the world, and the place of the world's cultures in the American melting pot. Examining sources that span more than a century and come from both sides of the Atlantic, Lausevic shows that an affinity group's debt to historical movements and ideas, though largely unknown to its members, is vital in understanding how and why people make particular music and dance choices that substantially change their lives.

Preeminant gamelan performer and scholar Sumarsam explores the concept of hybridity in performance traditions that have developed in the context of Javanese encounters with the West. Javanese Gamelan and the West studies the meaning, forms, and traditions of the Javanese performing arts as they developed and changed through their contact with Western culture. Authored by a gamelan performer, teacher, and scholar, the book traces the adaptations in gamelan art as a result of Western colonialism in nineteenth-century Java, showing how Western musical and dramatic practices were domesticated by Javanese performers creating hybrid Javanese-Western art forms, such as with the introduction of brass bands in gendhing mares court music and West Javanese tanjidor, and Western theatrical idioms in contemporary wayang puppet plays. The book also examines the presentation of Javanese gamelan to the West, detailing performances in World's Fairs and American academia and considering its influence on Western performing arts and musical and performance studies. The end result is a comprehensive treatment of the formation of modern Javanese gamelan and a fascinating look at how an art form dramatizes changes and developments in a culture. Sumarsam is a University Professor of Music at Wesleyan University. He is the author of Gamelan: Cultural Interaction and Musical Development in Central Java (University of Chicago Press, 1995) and numerous articles in English and Indonesian. As a gamelan musician and a keenamateur dhalang (puppeteer) of Javanese wayang puppet play, he performs, conducts workshops, and lectures throughout the US, Australia, Europe, and Asia.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1884 edition. Excerpt: ...Bourbonnais, Pods, pop. Ill, fol. 91, Romania, XI, 103, 38 verses, sung by a woman seventy-two years old. I. Bretagne, Louddac, Pods, pop., Ill, fol. 121, Romania, XI, 103 f, 64 verses. J. Pods, pop., Ill, fol. 285, Romania, XII, 115 (I), 50 verses. K. Bretagne (?), Romania, XII, 115 f, 36 verses. L. V. Smith, Chants pop. du Velay et du Forez, Romania, X, 582. 57 verses. M. 'Le roi Renaud, ' Fldvy, Puymaigre, I, 39, 78 verses. N. Touraine, Bldrd, Brachet in Revue Critique, II, 125, 60 verses. O. The same, variations of a later version. P. ' L'Arnaud l'lnfant, ' Limoges, Laforest, Limoges au XVIP siecle, 1862, p. 300, Pods, pop., Ill, It will be observed that some of the Renaud ballads in the Poesies populaires de la France were derived from earlier publications: such as were communicated by collectors appear to have been sent in in 1852 or 1853. The versions cited by Rathery, Revue Critique, II, 287 ff, are all from the fol. 95, Romania, XI, 104, 82 verses. Q. Charente, Pods, pop., Ill, fol. 107, Romania, XI, 99, 60 verses. R. Cambes, Lot-et-Garonne, Romania, XII, 116, 46 verses. S. Jura, Revue des Deux Mondes, 1854, Aoflt, p. 486. 50 verses. T. Rouen, Poes. pop. Ill, fol. 100, Romania, XI, 102, 60 verses, communicated by a gentleman who at the beginning of the century had learned the ballad from an aunt, who had received it from an aged nun. TJ. a, Buchon, Noels et Chants populaires de la Franche-Comtd, p. 85, 34 verses; b, Tarbd, Romancero de Champagne, Vol. II, Chants Populaires, p. 125, 32 verses; c, G. de Nerval, La Bohcme Galante, ed. 1866, p. 77, Les Filles du Feu, ed. 1868, p. 130, 30 verses; d, ' Jean Renaud, ' Bujeaud, Chants et Chansons populaires des Provinces de l'Ouest, II, 213, 32 verses. V. Pods, pop., Ill, fol. 122, Romania,

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1884 edition. Excerpt: ...Bourbonnais, Pods, pop. Ill, fol. 91, Romania, XI, 103, 38 verses, sung by a woman seventy-two years old. I. Bretagne, Louddac, Pods, pop., Ill, fol. 121, Romania, XI, 103 f, 64 verses. J. Pods, pop., Ill, fol. 285, Romania, XII, 115 (I), 50 verses. K. Bretagne (?), Romania, XII, 115 f, 36 verses. L. V. Smith, Chants pop. du Velay et du Forez, Romania, X, 582. 57 verses. M. 'Le roi Renaud, ' Fldvy, Puymaigre, I, 39, 78 verses. N. Touraine, Bldrd, Brachet in Revue Critique, II, 125, 60 verses. O. The same, variations of a later version. P. ' L'Arnaud l'lnfant, ' Limoges, Laforest, Limoges au XVIP siecle, 1862, p. 300, Pods, pop., Ill, It will be observed that some of the Renaud ballads in the Poesies populaires de la France were derived from earlier publications: such as were communicated by collectors appear to have been sent in in 1852 or 1853. The versions cited by Rathery, Revue Critique, II, 287 ff, are all from the fol. 95, Romania, XI, 104, 82 verses. Q. Charente, Pods, pop., Ill, fol. 107, Romania, XI, 99, 60 verses. R. Cambes, Lot-et-Garonne, Romania, XII, 116, 46 verses. S. Jura, Revue des Deux Mondes, 1854, Aoflt, p. 486. 50 verses. T. Rouen, Poes. pop. Ill, fol. 100, Romania, XI, 102, 60 verses, communicated by a gentleman who at the beginning of the century had learned the ballad from an aunt, who had received it from an aged nun. TJ. a, Buchon, Noels et Chants populaires de la Franche-Comtd, p. 85, 34 verses; b, Tarbd, Romancero de Champagne, Vol. II, Chants Populaires, p. 125, 32 verses; c, G. de Nerval, La Bohcme Galante, ed. 1866, p. 77, Les Filles du Feu, ed. 1868, p. 130, 30 verses; d, ' Jean Renaud, ' Bujeaud, Chants et Chansons populaires des Provinces de l'Ouest, II, 213, 32 verses. V. Pods, pop., Ill, fol. 122, Romania,

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1884 edition. Excerpt: ...Bourbonnais, Pods, pop. Ill, fol. 91, Romania, XI, 103, 38 verses, sung by a woman seventy-two years old. I. Bretagne, Louddac, Pods, pop., Ill, fol. 121, Romania, XI, 103 f, 64 verses. J. Pods, pop., Ill, fol. 285, Romania, XII, 115 (I), 50 verses. K. Bretagne (?), Romania, XII, 115 f, 36 verses. L. V. Smith, Chants pop. du Velay et du Forez, Romania, X, 582. 57 verses. M. 'Le roi Renaud, ' Fldvy, Puymaigre, I, 39, 78 verses. N. Touraine, Bldrd, Brachet in Revue Critique, II, 125, 60 verses. O. The same, variations of a later version. P. ' L'Arnaud l'lnfant, ' Limoges, Laforest, Limoges au XVIP siecle, 1862, p. 300, Pods, pop., Ill, It will be observed that some of the Renaud ballads in the Poesies populaires de la France were derived from earlier publications: such as were communicated by collectors appear to have been sent in in 1852 or 1853. The versions cited by Rathery, Revue Critique, II, 287 ff, are all from the fol. 95, Romania, XI, 104, 82 verses. Q. Charente, Pods, pop., Ill, fol. 107, Romania, XI, 99, 60 verses. R. Cambes, Lot-et-Garonne, Romania, XII, 116, 46 verses. S. Jura, Revue des Deux Mondes, 1854, Aoflt, p. 486. 50 verses. T. Rouen, Poes. pop. Ill, fol. 100, Romania, XI, 102, 60 verses, communicated by a gentleman who at the beginning of the century had learned the ballad from an aunt, who had received it from an aged nun. TJ. a, Buchon, Noels et Chants populaires de la Franche-Comtd, p. 85, 34 verses; b, Tarbd, Romancero de Champagne, Vol. II, Chants Populaires, p. 125, 32 verses; c, G. de Nerval, La Bohcme Galante, ed. 1866, p. 77, Les Filles du Feu, ed. 1868, p. 130, 30 verses; d, ' Jean Renaud, ' Bujeaud, Chants et Chansons populaires des Provinces de l'Ouest, II, 213, 32 verses. V. Pods, pop., Ill, fol. 122, Romania,

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1884 edition. Excerpt: ...Bourbonnais, Pods, pop. Ill, fol. 91, Romania, XI, 103, 38 verses, sung by a woman seventy-two years old. I. Bretagne, Louddac, Pods, pop., Ill, fol. 121, Romania, XI, 103 f, 64 verses. J. Pods, pop., Ill, fol. 285, Romania, XII, 115 (I), 50 verses. K. Bretagne (?), Romania, XII, 115 f, 36 verses. L. V. Smith, Chants pop. du Velay et du Forez, Romania, X, 582. 57 verses. M. 'Le roi Renaud, ' Fldvy, Puymaigre, I, 39, 78 verses. N. Touraine, Bldrd, Brachet in Revue Critique, II, 125, 60 verses. O. The same, variations of a later version. P. ' L'Arnaud l'lnfant, ' Limoges, Laforest, Limoges au XVIP siecle, 1862, p. 300, Pods, pop., Ill, It will be observed that some of the Renaud ballads in the Poesies populaires de la France were derived from earlier publications: such as were communicated by collectors appear to have been sent in in 1852 or 1853. The versions cited by Rathery, Revue Critique, II, 287 ff, are all from the fol. 95, Romania, XI, 104, 82 verses. Q. Charente, Pods, pop., Ill, fol. 107, Romania, XI, 99, 60 verses. R. Cambes, Lot-et-Garonne, Romania, XII, 116, 46 verses. S. Jura, Revue des Deux Mondes, 1854, Aoflt, p. 486. 50 verses. T. Rouen, Poes. pop. Ill, fol. 100, Romania, XI, 102, 60 verses, communicated by a gentleman who at the beginning of the century had learned the ballad from an aunt, who had received it from an aged nun. TJ. a, Buchon, Noels et Chants populaires de la Franche-Comtd, p. 85, 34 verses; b, Tarbd, Romancero de Champagne, Vol. II, Chants Populaires, p. 125, 32 verses; c, G. de Nerval, La Bohcme Galante, ed. 1866, p. 77, Les Filles du Feu, ed. 1868, p. 130, 30 verses; d, ' Jean Renaud, ' Bujeaud, Chants et Chansons populaires des Provinces de l'Ouest, II, 213, 32 verses. V. Pods, pop., Ill, fol. 122, Romania,

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1884 edition. Excerpt: ...Bourbonnais, Pods, pop. Ill, fol. 91, Romania, XI, 103, 38 verses, sung by a woman seventy-two years old. I. Bretagne, Louddac, Pods, pop., Ill, fol. 121, Romania, XI, 103 f, 64 verses. J. Pods, pop., Ill, fol. 285, Romania, XII, 115 (I), 50 verses. K. Bretagne (?), Romania, XII, 115 f, 36 verses. L. V. Smith, Chants pop. du Velay et du Forez, Romania, X, 582. 57 verses. M. 'Le roi Renaud, ' Fldvy, Puymaigre, I, 39, 78 verses. N. Touraine, Bldrd, Brachet in Revue Critique, II, 125, 60 verses. O. The same, variations of a later version. P. ' L'Arnaud l'lnfant, ' Limoges, Laforest, Limoges au XVIP siecle, 1862, p. 300, Pods, pop., Ill, It will be observed that some of the Renaud ballads in the Poesies populaires de la France were derived from earlier publications: such as were communicated by collectors appear to have been sent in in 1852 or 1853. The versions cited by Rathery, Revue Critique, II, 287 ff, are all from the fol. 95, Romania, XI, 104, 82 verses. Q. Charente, Pods, pop., Ill, fol. 107, Romania, XI, 99, 60 verses. R. Cambes, Lot-et-Garonne, Romania, XII, 116, 46 verses. S. Jura, Revue des Deux Mondes, 1854, Aoflt, p. 486. 50 verses. T. Rouen, Poes. pop. Ill, fol. 100, Romania, XI, 102, 60 verses, communicated by a gentleman who at the beginning of the century had learned the ballad from an aunt, who had received it from an aged nun. TJ. a, Buchon, Noels et Chants populaires de la Franche-Comtd, p. 85, 34 verses; b, Tarbd, Romancero de Champagne, Vol. II, Chants Populaires, p. 125, 32 verses; c, G. de Nerval, La Bohcme Galante, ed. 1866, p. 77, Les Filles du Feu, ed. 1868, p. 130, 30 verses; d, ' Jean Renaud, ' Bujeaud, Chants et Chansons populaires des Provinces de l'Ouest, II, 213, 32 verses. V. Pods, pop., Ill, fol. 122, Romania,

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1884 edition. Excerpt: ...Bourbonnais, Pods, pop. Ill, fol. 91, Romania, XI, 103, 38 verses, sung by a woman seventy-two years old. I. Bretagne, Louddac, Pods, pop., Ill, fol. 121, Romania, XI, 103 f, 64 verses. J. Pods, pop., Ill, fol. 285, Romania, XII, 115 (I), 50 verses. K. Bretagne (?), Romania, XII, 115 f, 36 verses. L. V. Smith, Chants pop. du Velay et du Forez, Romania, X, 582. 57 verses. M. 'Le roi Renaud, ' Fldvy, Puymaigre, I, 39, 78 verses. N. Touraine, Bldrd, Brachet in Revue Critique, II, 125, 60 verses. O. The same, variations of a later version. P. ' L'Arnaud l'lnfant, ' Limoges, Laforest, Limoges au XVIP siecle, 1862, p. 300, Pods, pop., Ill, It will be observed that some of the Renaud ballads in the Poesies populaires de la France were derived from earlier publications: such as were communicated by collectors appear to have been sent in in 1852 or 1853. The versions cited by Rathery, Revue Critique, II, 287 ff, are all from the fol. 95, Romania, XI, 104, 82 verses. Q. Charente, Pods, pop., Ill, fol. 107, Romania, XI, 99, 60 verses. R. Cambes, Lot-et-Garonne, Romania, XII, 116, 46 verses. S. Jura, Revue des Deux Mondes, 1854, Aoflt, p. 486. 50 verses. T. Rouen, Poes. pop. Ill, fol. 100, Romania, XI, 102, 60 verses, communicated by a gentleman who at the beginning of the century had learned the ballad from an aunt, who had received it from an aged nun. TJ. a, Buchon, Noels et Chants populaires de la Franche-Comtd, p. 85, 34 verses; b, Tarbd, Romancero de Champagne, Vol. II, Chants Populaires, p. 125, 32 verses; c, G. de Nerval, La Bohcme Galante, ed. 1866, p. 77, Les Filles du Feu, ed. 1868, p. 130, 30 verses; d, ' Jean Renaud, ' Bujeaud, Chants et Chansons populaires des Provinces de l'Ouest, II, 213, 32 verses. V. Pods, pop., Ill, fol. 122, Romania,

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1884 edition. Excerpt: ...Bourbonnais, Pods, pop. Ill, fol. 91, Romania, XI, 103, 38 verses, sung by a woman seventy-two years old. I. Bretagne, Louddac, Pods, pop., Ill, fol. 121, Romania, XI, 103 f, 64 verses. J. Pods, pop., Ill, fol. 285, Romania, XII, 115 (I), 50 verses. K. Bretagne (?), Romania, XII, 115 f, 36 verses. L. V. Smith, Chants pop. du Velay et du Forez, Romania, X, 582. 57 verses. M. 'Le roi Renaud, ' Fldvy, Puymaigre, I, 39, 78 verses. N. Touraine, Bldrd, Brachet in Revue Critique, II, 125, 60 verses. O. The same, variations of a later version. P. ' L'Arnaud l'lnfant, ' Limoges, Laforest, Limoges au XVIP siecle, 1862, p. 300, Pods, pop., Ill, It will be observed that some of the Renaud ballads in the Poesies populaires de la France were derived from earlier publications: such as were communicated by collectors appear to have been sent in in 1852 or 1853. The versions cited by Rathery, Revue Critique, II, 287 ff, are all from the fol. 95, Romania, XI, 104, 82 verses. Q. Charente, Pods, pop., Ill, fol. 107, Romania, XI, 99, 60 verses. R. Cambes, Lot-et-Garonne, Romania, XII, 116, 46 verses. S. Jura, Revue des Deux Mondes, 1854, Aoflt, p. 486. 50 verses. T. Rouen, Poes. pop. Ill, fol. 100, Romania, XI, 102, 60 verses, communicated by a gentleman who at the beginning of the century had learned the ballad from an aunt, who had received it from an aged nun. TJ. a, Buchon, Noels et Chants populaires de la Franche-Comtd, p. 85, 34 verses; b, Tarbd, Romancero de Champagne, Vol. II, Chants Populaires, p. 125, 32 verses; c, G. de Nerval, La Bohcme Galante, ed. 1866, p. 77, Les Filles du Feu, ed. 1868, p. 130, 30 verses; d, ' Jean Renaud, ' Bujeaud, Chants et Chansons populaires des Provinces de l'Ouest, II, 213, 32 verses. V. Pods, pop., Ill, fol. 122, Romania,