Published 2001
Table of Contents:
“…List of illustrations -- List of musical examples -- The Salvation of writing things down / Judith Tick -- A Note on transcription: The singer and the song -- Phonographic recording of the song -- Transcription of the song from phonographic recording versus dictation direct from folk singer, player or Intermediary -- Transcription through graph notation -- The reader and the song -- Music notation as a bridge -- Three basic types of transcription illustrated -- Song-norm -- Majority usage -- Underlimits of amount of detail shown in notation, esp. the simpler singing styles -- The model tune as representative of the song as a whole -- The initial tune as a model tune -- The Composite tune -- The Transcriber and a changing oral tradition -- Nnotes on the songs and on manners of singing: Adherence to a dynamic level throughout the song -- Adherence to a dramatic level throughout the song -- Adherence to the tempo set at the beginning of the song -- Infrequency of long ritardandos from the beginning to the end of the song -- Infrequency of short stereotyped ritardandos at ends of phrases and stanzas -- Strict time and free singing styles -- Pulse and count -- Anticipation and delay of beat -- Simple and compound meter -- Metrical irregularities: prolongation and contraction of measure: Extended tone and the extended or inserted rest -- Underlimit of metrical irregularity shown in these notations -- Metrical irregularities -- Rest -- Phrase pattern: Number of measures to a phrase -- Number of phrases to the stanza -- Interstanzaic variation -- Manners of accommodating extra syllables of succeeding stanzas -- Tone attack and release -- Intonation -- Scale and mode -- Accompaniment -- The Songs -- List of unpublished transcriptions in the Lomax family archives -- Amazing grace / Pisgah transcriptions from George Pullen Jackson's White and Negro Spirituals -- Selected other writings on American
folk music -- Pre-school children and American
folk music (late 1940s?) …”
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