PREFACE. WHATEVER may be esteemed the value of the present work, it is the outcome of much pleasant labour. The compilers wish has been to at least temporarily rescue from oblivion some few of the old airs, which, passing from mouth to mouth for generations, are fast disappearing before the modern effusions of the music hall and concert room. He believes that inany of the airs here noted down are excellent specimens of mebdy, and as such, are worthy of preservation that they have a peculiar quaintness, a sweetness, and a tenderness of expression, absent in the music of the present day, which it is impossible to successfully imitate. He has endeavoured to set down the airs as far as musical notes will permit with the utmost fidelity, scrupulously avoiding any attempt at arrangement or emendation, for, however desirable it might be in some instances to amend the airs from corruptions which have crept in, the Editor has considered that he would be scarcely justified in tampering with them, as such an attempt at revisal would greatly detract from the antiquarian value of the whole. It is possible that some musical reader may find much to criticise in the technical arrangement of the melodies. The Editor certainly does not claim that they are absolutely perfect, but he would merely remind such reader of the fact so well-known to persons who have attempted the feat, that very great difficulty attends the notation of irregular old melodies from untutored singers. An endeavour to be scrupulously exact in attempting to put the airs before the reader as the Editor has heard them sung, may have led hiin into some technical errors, but he trusts that these are not serious and will be pardoned. With regard to the printing of the airs pure and simple and without harmony, an extract from the preface of John Hullahs Song Book applies so exactly to the present case that it may be quoted The presentation of these songs without accompaniment has been dictated, not merely by want of space but by the desire to present them in their original forms for, in almost every case, the tune is the on original part of the music of a national song, the addition even of a bass having been generally made by a later hand-not always guided by a sympathetic spirit. To the above may be added that the traditional airs forming the present volume have perhaps never been harmonized. They have either been sung by a single singer or by parties of singers in unison, or performed on such a simple instrument as the flute or fiddle. Is it, then, desirable to put such old wine into new bottles Where it is, however, deemed desirable to add harmony for the purpose of playing them on the piano, it will be in general found that a thin bass will be more in the character of the old harmonies, put to songs which were printed and issued when these traditional airs were most popular. The Editor has here to thank the many kind friends who have interested themselves in the work, and to the contributors of airs and songs his warmest acknowledgments are offered. Chief among the contributors to be thanked are Mr. Benjamin Holgate, of Headingley, and Mr. Charles Lolley, of Leeds, to both of whose retentive memories of songs heard in earlier years much of the contents of this book is due. Mr. Holgates remembrances are of the songs once popular in and around Leeds, and Mr. Lolleys are of those in the district of Howden, in the East Riding of Yorkshire. Mr. Lolley has, besides, while this work has been in progress, taken a great deal of trouble in collecting airs for it from other parts of the East Riding...

Many of the earliest books, particularly those dating back to the 1900's and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

Many of the earliest books, particularly those dating back to the 1900's and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

Popular From The Sixteenth Century To The Middle Of The Eighteenth Century.

Popular From The Sixteenth Century To The Middle Of The Eighteenth Century.

Two centuries ago, Joseph Addison tells us in the character of Mr Spectator - L When I travelled I took a particular delight in hearing the songs and fables that are come down from father to son, and are most in vogue among the common people of the countries through which I passed for it is impossible that anything should be universally tasted and approved of by a multitude, though they are only the rabble of the nation, which hath not in it some peculiar aptness to please and gratify the mind of man Spectator . He further says - An ordinary song or ballad, that is the delight of the common people, cannot fail to please all such readers as are not unqualified for the enter- tainment by their affectation or ignorance. It was not only the cultured Mr Addison who recognised the claims of the peoples songs as expressive of sentiments that were worthy the consideration of the more learned, for quotation upon quotation could be given of examples where the refined and learned have found in the primitive song that which appealed in the highest degree. The moderns need no excuse for the study of folk-song, and few will regard the consideration of peoples-lore as an idle amusement. The present essay is put forth with all diffidence as a very slight dissertation upon a complex subject, and it does not pretend to do more than enter into the fringe of it. The younger of the present generation have seen the gradual speeding up of technique in composition and performance, but with this increased standard there has been a tendency to let fall certain very sacred and essential things that belong to musical art. In too many cases the composer has not quite justified the complexity of his composition while glorying in the skill of his craftsmanship he has too frequently forgotten the primitive demand for art and beauty, apart from technical elaboration. That type of simple melody that formerly pleased what we might regard as a less cultured age, holds no place in present-day composition or in the esteem of a certain class...

Originally published in 1922, this book contains a history of English opera described through the lens of The Beggar's Opera, first performed in 1728. Kidson details the background to the opera's creation, its author, and its lasting impact on the English opera scene. This book will be of value to anyone with an interest in the English opera and English musical history.

Frank Kidson (1855-1926) and Mary Neal (1860-1944) were both notable for their involvement in the development of a scholarly movement relating to English folk traditions, Neal was also a prominent social campaigner and suffragette. Originally published in 1915, this volume provides a concise introduction to English folk songs and folk dances. The text is divided in two parts, with the first, written by Kidson, being assigned to songs and the second, written by Neal, being assigned to dances. This is a beautifully presented book, containing illustrations and numerous musical scores, that will be of value to anyone with an interest in folk traditions.