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A stirring, foot-stomping treasure-trove of more than 100 traditional songs that celebrate what it is to be Australian. Warren Fahey's AUStRALIAN FOLK SONGS AND BUSH BALLADS is a stirring, foot-stomping treasure-trove of more than 100 traditional songs that celebrate what it is to be Australian. these are not some dusty old songs to be thrown in a drawer and forgotten. they are songs to be sung with gusto whenever the spirit takes you - on holiday, at school, at a party, around the barbecue or kitchen table. You'll find the words and music for sing-along favourites such as 'Old Bullock Dray', 'Wild Colonial Boy', 'Stir the Wallaby Stew', 'the Old Bark Hut', 'Limejuice tub', 'Banks of the Condamine', 'Euabalong Ball', 'Augathella Station', 'Click Go the Shears', 'the Dying Stockman', 'the Overlanders' and 'Waltzing Matilda', plus the song we should all know the words to (but few of us do) - 'Advance Australia Fair'. there are also several bush songs published for the first time.Featuring fascinating background notes and liberally illustrated with rare images, this book is a must for anyone interested in Australia's musical and cultural history. And it has been collected by the one who knows them best: legendary folklorist and performer, Warren Fahey.
Described on its first publication in 1967 as “a scholarly account of Australian music that is also entertaining social history”, Roger Covell’s Austrlaia’s Music: Themes of a New Society has become a classic of Australian music history for its beautifully written explorations of almost two hundred years of music-making across classical, Indigenous and Anglo-Celtic traditions. This revised edition, including more than sixty musical examples, is supplemented by a new postscript written by the author.
"'Folksongs' interest many people nowadays, because they are meant to be the kinds of songs most of our ancestors sang, before industrialisation, before the mass media, before music and song became commodities, and before all the assorted evils associated with advanced capitalist society. 'Folksongs' and 'ballads' represent real values something honest and straightforward and beautiful to hang on to, and make us feel our roots in the Britain of 1900 or 1800 or even 1700. The only problem with this way of thinking is that it is based on myths. What we now know as 'folksongs' and 'ballads' were sought after, collected, edited and published by individuals who were either members of the rising bourgeoisie, or were ideologically sympathetic to bourgeois culture and values. The working people who sang their songs, and had them chopped up, amended and sometimes re-written or invented on their behalf, are remarkably absent from the story of 'folksong'. Before we can begin to piece together the real history of our ancestors' culture, we have to penetrate the 'mediations' of people like Cecil Sharp, Francis James Child and Albert Lancaster Lloyd, and to begin building again on firmer foundations. This book sets out to clear the ground"--Page 4 of cover.
Collection of Colonial Folk Songs
Ballads are a fascinating subject of study not least because of their endless variety. It is quite remarkable that ballads taken down or recorded from singers separated by centuries in time and by hundreds of kilometres in distance, should be both different and yet recognizably the same. In The English Traditional Ballad, David Atkinson examines the ways in which the body of ballads known in England make reference both to ballads from elsewhere and to other English folk songs. The book outlines current theoretical directions in ballad scholarship: structuralism, traditional referentiality, genre and context, print and oral transmission, and the theory of tradition and revival. These are combined to offer readers a method of approaching the central issue in ballad studies - the creation of meaning(s) out of ballad texts. Atkinson focuses on some of the most interesting problems in ballad studies: the 'wit-combat' in versions of The Unquiet Grave; variable perspectives in comic ballads about marriage; incest as a ballad theme; problems of feminine motivation in ballads like The Outlandish Knight and The Broomfield Hill; murder ballads and murder in other instances of early popular literature. Through discussion of these issues and themes in ballad texts, the book outlines a way of tracing tradition(s) in English balladry, while recognizing that ballad tradition is far from being simply chronological and linear.