A treasure trove for anyone interested in the folklore of the British Isles. Illustrated throughout, this lovely collection contains 360 folk songs from field recordings. Includes melody lines, lyrics, and chord symbols. Melody line format.

This collection is filled with songs that tell of the pleasures and pains of love, the patterns of the countryside and the lives of ordinary people. Here are unfaithful soldiers, ghostly lovers, whalers on stormy seas, cuckolds and tricksters. By turns funny, plain-speaking and melancholic, these songs evoke a lost world and, with their melodies provided, record a vital musical tradition. Generations of inhabitants have helped shape the English countryside � but it has profoundly shaped us too.It has provoked a huge variety of responses from artists, writers, musicians and people who live and work on the land � as well as those who are travelling through it.English Journeys celebrates this long tradition with a series of twenty books on all aspects of the countryside, from stargazey pie and country churches, to man�s relationship with nature and songs celebrating the patterns of the countryside (as well as ghosts and love-struck soldiers).

In recent years, the assumption that traditional songs originated from a primarily oral tradition has been challenged by research into ’street literature’ - that is, the cheap printed broadsides and chapbooks that poured from the presses of jobbing printers from the late sixteenth century until the beginning of the twentieth. Not only are some traditional singers known to have learned songs from printed sources, but most of the songs were composed by professional writers and reached the populace in printed form. Street Ballads in Nineteenth-Century Britain, Ireland, and North America engages with the long-running debate over the origin of traditional songs by examining street literature’s interaction with, and influence on, oral traditions.

(Fake Book). The ultimate collection of over 1,000 folksongs perfect for performers, school teachers, and hobbyists. This book includes a huge variety of songs spanning hundreds of years and originating from America, England, Canada, Britain, Scotland, Ireland, and other countries. It includes all styles of folk music, including spirituals, cowboy songs, sea chanteys, work songs, children's songs, love ballads, protest songs, and more. Titles include: All the Pretty Little Horses * All Through the Night * The Ash Grove * Black Is the Color of My True Love's Hair * The Blue Tail Fly * Bury Me Not on the Lone Prairie * Clementine * The Cruel War Is Raging * Danny Boy * Deep River * Down by the Salley Gardens * The Erie Canal * Git Along, Little Dogies * Go, Tell It on the Mountain * Home on the Range * The House of the Rising Sun * How Can I Keep from Singing? * Hush, Little Baby * Jacob's Ladder * John Henry * Kumbaya * Lonesome Valley * Michael Row the Boat Ashore * The Old Chisolm Trail * Shall We Gather at the River * Shenandoah * Simple Gifts * The Streets of Laredo * Swing Low, Sweet Chariot * When Johnny Comes Marching Home * Yankee Doodle * and many, many more! Features the original version of each tune, and all known verses.

One of the Spectator's Books of the Year 2012 'Farewell and adieu to you fair Spanish ladies Farewell and adieu to you ladies of Spain For we've received orders for to sail for old England But we hope in a short while to see you again' One of the great English popular art forms, the folk song can be painful, satirical, erotic, dramatic, rueful or funny. They have thrived when sung on a whim to a handful of friends in a pub; they have bewitched generations of English composers who have set them for everything from solo violin to full orchestra; they are sung in concerts, festivals, weddings, funerals and with nobody to hear but the singer. This magical new collection brings together all the classic folk songs as well as many lesser-known discoveries, complete with music and annotations on their original sources and meaning. Published in cooperation with the English Folk Dance and Song Society, it is a worthy successor to Ralph Vaughan Williams and A.L.Lloyd's original Penguin Book of English Folk Songs. 'Her keen eye did glitter like the bright stars by night The robe she was wearing was costly and white Her bare neck was shaded with her long raven hair And they called her pretty Susan, the pride of Kildare' In association with EFDSS, the English Folk Dance and Song Society

Gaelic songs are beautiful to listen to and to sing, but until now it has been extremely difficult for anyone without knowledge of the Irish language (Gaelic) to sing the songs of that tradition. A must for anyone who has always longed to sing the old songs of Ireland, this book and CD decodes the Irish language for those who aspire to sing these songs without them having to undertake an Irish language course. The fourteen songs are presented in an accessible fashion. On the CD, the author speaks each phrase slowly, leaving a pause for the student to imitate the pronunciation. The author then sings each song in a simple, plain style, conducive to learning. The book has the sheet music, guitar chords, phonetics, Irish lyrics, and a translation and background to each song. There is an introduction which gives information on traditional singing in Irish as well as a guide to the phonetic system used. The songs are graded linguistically and musically so that the student can build up skills as she or he progresses through the book.

Northern Ireland remains a divided community in which traditional culture is widely understood as a marker of religious affiliation and ethnic identity. David Cooper provides an analysis of the characteristics of traditional music performed in Northern Ireland, as well as an ethnographic and ethnomusicological study of a group of traditional musicians from County Antrim. In particular, he offers a consideration of the cultural dynamics of Northern Ireland with respect to traditional music.

Many of the great songs that have inspired performers around the world in the last 50 years come from the English folk song tradition. This book provides words and melodies for nearly 100 songs, along with an exploration of their history and meaning, the context in which they arose, and their value to writers and performers around the world.

The relationship between language and music has much in common - rhythm, structure, sound, metaphor. Exploring the phenomena of song and performance, this book presents a sociolinguistic model for analysing them. Based on ethnomusicologist John Blacking's contention that any song performed communally is a 'folk song' regardless of its generic origins, it argues that folk song to a far greater extent than other song genres displays 'communal' or 'inclusive' types of performance. The defining feature of folk song as a multi-modal instantiation of music and language is its participatory nature, making it ideal for sociolinguistic analysis. In this sense, a folk song is the product of specific types of developing social interaction whose major purpose is the construction of a temporally and locally based community. Through repeated instantiations, this can lead to disparate communities of practice, which, over time, develop sociocultural registers and a communal stance towards aspects of meaningful events in everyday lives that become typical of a discourse community.

DigiCat Publishing presents to you this special edition of "Songs of the West" (Folk Songs of Devon & Cornwall Collected from the Mouths of the People) by S. Baring-Gould, H. Fleetwood Sheppard, F. W. Bussell. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.