George W Boswell
Biographic Data
| ID | 223458 |
|---|---|
| NAME | George W Boswell |
| GIVEN NAMES | George W |
| FAMILY NAME | Boswell |
| SIGNATURE | BOSWELL G W |
| VERIFIED | No |
| TOTAL WORKS | 16 |
| TOTAL CITATIONS | 6 |
| AUTHOR COUNT | 16 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1964 |
| LATEST PUBLICATION YEAR | 1984 |
| H-INDEX | 2 |
The Mirth of a Nation: America's Great Dialect Humor
Sea Songs and Ballads from Nineteenth-Century Nova Scotia
The Sacred Harp: A Tradition and Its Music
Pitch: Musical and Verbal in Folksong
From one point of view, poetry and music in song are two sides of the same coin—almost miraculously well wedded together. This generalization is especially true of folksong, which by definition has been transmitted orally by myriads of singers until an exceptional fusion has developed. The tune graciously accompanies the text in order to beautify it, to serve as a medium of its communication, and to render it more permanent. Other than their rela…
Moon Beliefs
Metrical Alteration in Folksinging
THAT THE SINGER OF A FOLKSONG freely varies the metrical content of his tune in the course of performance is no novel observation. Number two in Samuel Bayard's list of six mannerisms of performance that are profoundly instructive as to the past of the folksong art is strongly marked, yet noticeably changeable, rhythmic patterns.' As a part of the fascinating and challenging study of the influences wielded by text over tune in balladry, I have re…
"A Note-Commentary on J. Barre Toelken's "An Oral Canon for the Child Ballads
The Neutral Tone as a Function of Folk-song Text
One of the most striking and distinctive phenomena in folk singing is the neutral tone, that note which cannot be rendered on a fretted or keyboard instrument, a note that is most at home not in art song but on the lips of an untrained traditional singer. Samuel P. Bayard gave it the place of honor on his list of six “mannerisms of performance that are profoundly instructive as to the past of the folksong art,” especially as regards “the presence…
Reciprocal Controls Exerted by Ballad Texts and Tunes
NOT ENOUGH RESEARCH has been done on the music-poetry relationship in songs. In folksong it is especially close, flexible, and harmonious. The present study, having taken for its materials ballads collected in the southern states, is designed to point the way toward identification of problems in text-tune fit that merit investigation. Southern traditional ballads are of several kinds: the older English and Scottish (Child) pieces; other later imp…
The Primitive Reader: An Anthology of Myths, Tales, Songs, Riddles and Proverbs of Aboriginal Peoples around the World
The Dulcimer Book
Folklore in Action: Essays for Discussion in Honor of MacEdward Leach
Fundamentals of Folk Literature
Traditional Ballads and Folk-Songs Mainly from West Virginia
Fundamentals of Folk Literature
An Introduction to Folk Music in the United States
Folklore in Action: Essays for Discussion in Honor of MacEdward Leach
Fundamentals of Folk Literature
Traditional Ballads and Folk-Songs Mainly from West Virginia
Fundamentals of Folk Literature
An Introduction to Folk Music in the United States
The Dulcimer Book
The Primitive Reader: An Anthology of Myths, Tales, Songs, Riddles and Proverbs of Aboriginal Peoples around the World
Reciprocal Controls Exerted by Ballad Texts and Tunes
NOT ENOUGH RESEARCH has been done on the music-poetry relationship in songs. In folksong it is especially close, flexible, and harmonious. The present study, having taken for its materials ballads collected in the southern states, is designed to point the way toward identification of problems in text-tune fit that merit investigation. Southern traditional ballads are of several kinds: the older English and Scottish (Child) pieces; other later imp…
The Neutral Tone as a Function of Folk-song Text
One of the most striking and distinctive phenomena in folk singing is the neutral tone, that note which cannot be rendered on a fretted or keyboard instrument, a note that is most at home not in art song but on the lips of an untrained traditional singer. Samuel P. Bayard gave it the place of honor on his list of six “mannerisms of performance that are profoundly instructive as to the past of the folksong art,” especially as regards “the presence…
"A Note-Commentary on J. Barre Toelken's "An Oral Canon for the Child Ballads
Metrical Alteration in Folksinging
THAT THE SINGER OF A FOLKSONG freely varies the metrical content of his tune in the course of performance is no novel observation. Number two in Samuel Bayard's list of six mannerisms of performance that are profoundly instructive as to the past of the folksong art is strongly marked, yet noticeably changeable, rhythmic patterns.' As a part of the fascinating and challenging study of the influences wielded by text over tune in balladry, I have re…
Moon Beliefs
Pitch: Musical and Verbal in Folksong
From one point of view, poetry and music in song are two sides of the same coin—almost miraculously well wedded together. This generalization is especially true of folksong, which by definition has been transmitted orally by myriads of singers until an exceptional fusion has developed. The tune graciously accompanies the text in order to beautify it, to serve as a medium of its communication, and to render it more permanent. Other than their rela…
The Sacred Harp: A Tradition and Its Music
The Mirth of a Nation: America's Great Dialect Humor
Sea Songs and Ballads from Nineteenth-Century Nova Scotia
History (14 works) · Art (12 works) · Literature (11 works) · Folklore, Mythology, and Literature Studies (8 works) · History (7 works) · Diverse Musicological Studies (5 works) · Poetry (5 works) · Ballad (4 works) · Music History and Culture (4 works) · Musical (3 works)