CDSS Song of the Month
Community and traditional song in the 21st century
Join us each month in song!
CDSS designated 2016 our Year of Song. We chose it for two reasons: to honor the start of Cecil Sharp and Maud Karpeles’ prolific folk song collecting in southern Appalachia (1916-1918), and to look at how song serves CDSS's mission. This examination also begins a cycle of focusing on one or two genres at a time, as we identify community needs and allow for better use of our resources.
Our Song of the Month feature has been so well received that we decided to make it a permanent part of the website. You'll find an archive of these songs below as well as new ones being posted in the months to come.
CDSS’s song traditions are based primarily in the English and Anglo-American traditions — folk songs, ballads, sea shanties, rounds, songs with choruses. We also include spirituals, work songs, country harmony, African call and response, shape note and gospel, contemporary a cappella, and new arrangements of traditional songs. Our special emphasis is on community singing.
Lorraine Hammond, CDSS Board member and Song Task Group Chair, spearheaded our Year of Song efforts and oversaw 2016’s song selections. Judy Cook took on that role in 2017 and continues to contribute each month, with help from Lorraine. Our thanks to them both.
Note: Many of these old songs should be looked at as "fairy tales for adults" in that they often address very strong, and sometimes scary, subject matter. They allow us to deal with difficult situations and emotions with the distance afforded by putting it in a song. They are cautionary tales, and had their use as such.
Dancing at Whitsun
Introduction by Kim Wallach
We dance in the month of May with Morris and Maypole, so it is fitting that the song of the month be about Morris dancing. Dancing at Whitsun, written by Austin John Marshall to the tune of “The Week Before Easter” or “the False Bride” was first published in 1968 in Karl Dallas’ book, The Cruel Wars, and first recorded by Shirley Collins in 1969 as part of the Anthems in Eden Suite.
Introduction by Jesse P. Karlsberg
April’s song is an early nineteenth-century set piece for a cappella four-part harmony singing with a name and hymn text that evoke the warming weather, “vernal flowers,” and “warbling choirs” of birds that accompany this season of the year. SPRING was published, without attribution, in James M. Boyd’s 1818 shape-note tunebook Virginia Sacred Musical Repository as a three-part setting. It acquired a fourth part, by W. H. Swan, when it was reprinted in the 1848 Harp of Columbia.1 It sets to music the second verse of Charles Wesley’s eighteenth-century hymn, “The voice of my beloved sounds.” SPRING is best known today thanks to its inclusion in The Sacred Harp, the popular tunebook used at all-day singings and conventions each weekend across the United States and in about two dozen countries.
Introduction by Robbie O'Connell
Our choice for March is a classic traditional Irish love song, “The Bonnie Blue-Eyed Lassie”, presented here by Robbie O’Connell.
Irish traditional singer Elizabeth Cronin, also known as Bess, was born in 1879 and died in 1956. She lived in Ballyvourney, County Cork and was recorded by several song collectors in the late 1940s and early 1950s, including Seamus Ennis, Alan Lomax, Jean Ritchie and Diane Hamilton. She sang in both English and Irish and had almost two hundred songs.
Introduction by Lorraine Lee Hammond
February’s song is a traditional children’s song that is fun to sing and easily turned into a game or simple theatre production. Good entertainment for a wintry afternoon. Perhaps you know a version already. I learned this one from Oscar Degreenia when I was a child in West Cornwall, Connecticut. I give his verses here, but I have changed them many times through the years. I encourage you to do the same. This song is a great vehicle for banter and improvisation – friend to friend, parent to child, sibling to sibling. A simple song of bribery!
We kick off our Year of Song with "May It Fill Your Soul," a new composition from singer and instrumentalist Brendan Taaffe of Vermont.