Abstract
Brooks Hayden Romedy explores the evolving role of racial thought in the folksong collection and revival movements in “Folksong Collection Practices and the Development of an Anglo-Saxon America.”
Highlights
Just over four hundred years ago, Elizabethan England sought to establish itself in the New World
Academic scholarship has had a profound influence on the way we perceive and understand the various forms and iterations of folk music on the North American continent
Despite earlier song-catchers’ focus on British tunes, the wider public increasingly became aware of vernacular music traditions in America that originated outside of the British Isles and a multicultural view of what constituted American folk music began to emerge
Summary
Just over four hundred years ago, Elizabethan England sought to establish itself in the New World. It is important to note that those involved in documenting and reviving these folk traditions differentiated English songs from Scottish songs, but at the end of the day their focus was on music rooted in the whole of the British oral tradition as a collective entity, to the exclusion of other traditions An example of such an American is Olive Dame Campbell, who Sharp maintained close collaboration with. Despite earlier song-catchers’ focus on British tunes, the wider public increasingly became aware of vernacular music traditions in America that originated outside of the British Isles and a multicultural view of what constituted American folk music began to emerge. Due to the proliferation of different lineages of folk music, as well as the acknowledgment of the diversity of influence within long-recognized American musical traditions, folk music became widely seen as a unifying force spanning the well of America’s deep and diverse cultural origin, symbolizing its sonic heritage; the Anglo-centric origins of the folk revival movement were largely forgotten.
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