Border ballads are a group of songs in the long tradition of balladry collected from the Anglo-Scottish border. [1] [2] Like all traditional ballads, they were traditionally sung unaccompanied. There may be a repeating motif, but there is no "chorus" as in most popular songs. The supernatural is a common theme in border ballads, as are recountings of raids and battles.
The ballads belong to various groups of subjects, such as riding ballads like "Kinmont Willie"; historical ballads like "Sir Patrick Spens"; comic ballads like "Get Up and Bar the Door"; [3] and those with supernatural themes including "Thomas the Rhymer" (also known as "True Thomas" or "Thomas of Erceldoune") and "Tam Lin".
Some of the earliest known references (in Middle Scots) to the ballads appeared in The Complaynt of Scotland (1549). Sir Walter Scott wrote about border ballads in Minstrelsy of the Scottish Border , first published in 1802–03. A. L. Lloyd said of the ballads:
The bare rolling stretch of country from the North Tyne and Cheviots to the Scottish southern uplands was for a long time the territory of men who spoke English but had the outlook of Afghan tribesmen; they prized a poem almost as much as plunder, and produced such an impressive assembly of local narrative songs that some people used to label all our greater folk poems as 'Border ballads'. [4]
A ballad is a form of verse, often a narrative set to music. Ballads derive from the medieval French chanson balladée or ballade, which were originally "dance songs". Ballads were particularly characteristic of the popular poetry and song of Britain and Ireland from the Late Middle Ages until the 19th century. They were widely used across Europe, and later in Australia, North Africa, North America and South America.
James Henry Miller, better known by his stage name Ewan MacColl, was a British folk singer-songwriter, folk song collector, labour activist and actor. Born in England to Scottish parents, he is known as one of the instigators of the 1960s folk revival as well as for writing such songs as "The First Time Ever I Saw Your Face" and "Dirty Old Town".
"John Barleycorn" is an English and Scottish folk song listed as number 164 in the Roud Folk Song Index. John Barleycorn, the song's protagonist, is a personification of barley and of the alcoholic beverages made from it: beer and whisky. In the song, he suffers indignities, attacks, and death that correspond to the various stages of barley cultivation, such as reaping and malting.
"Barbara Allen" is a traditional folk song that is popular throughout the English-speaking world and beyond. It tells of how the eponymous character denies a dying man's love, then dies of grief soon after his untimely death.
The folk music of England is a tradition-based music which has existed since the later medieval period. It is often contrasted with courtly, classical and later commercial music. Folk music traditionally was preserved and passed on orally within communities, but print and subsequently audio recordings have since become the primary means of transmission. The term is used to refer both to English traditional music and music composed or delivered in a traditional style.
Scottish folk music is a genre of folk music that uses forms that are identified as part of the Scottish musical tradition. There is evidence that there was a flourishing culture of popular music in Scotland during the late Middle Ages, but the only song with a melody to survive from this period is the "Pleugh Song". After the Reformation, the secular popular tradition of music continued, despite attempts by the Kirk, particularly in the Lowlands, to suppress dancing and events like penny weddings. The first clear reference to the use of the Highland bagpipes mentions their use at the Battle of Pinkie Cleugh in 1547. The Highlands in the early seventeenth century saw the development of piping families including the MacCrimmons, MacArthurs, MacGregors and the Mackays of Gairloch. There is also evidence of adoption of the fiddle in the Highlands. Well-known musicians included the fiddler Pattie Birnie and the piper Habbie Simpson. This tradition continued into the nineteenth century, with major figures such as the fiddlers Niel and his son Nathaniel Gow. There is evidence of ballads from this period. Some may date back to the late Medieval era and deal with events and people that can be traced back as far as the thirteenth century. They remained an oral tradition until they were collected as folk songs in the eighteenth century.
The Child Ballads are 305 traditional ballads from England and Scotland, and their American variants, anthologized by Francis James Child during the second half of the 19th century. Their lyrics and Child's studies of them were published as The English and Scottish Popular Ballads. The tunes of most of the ballads were collected and published by Bertrand Harris Bronson in and around the 1860s.
"Lord Randall", or "Lord Randal", is an Anglo-Scottish border ballad consisting of dialogue between a young Lord and his mother. Similar ballads can be found across Europe in many languages, including Danish, German, Magyar, Irish, Swedish, and Wendish. Italian variants are usually titled "L'avvelenato" or "Il testamento dell'avvelenato", the earliest known version being a 1629 setting by Camillo il Bianchino, in Verona. Under the title "Croodlin Doo" Robert Chambers published a version in his "Scottish Ballads" (1829) page 324
Albert Lancaster Lloyd, usually known as A. L. Lloyd or Bert Lloyd, was an English folk singer and collector of folk songs, and as such was a key figure in the British folk revival of the 1950s and 1960s. While Lloyd is most widely known for his work with British folk music, he had a keen interest in the music of Spain, Latin America, Southeastern Europe and Australia. He recorded at least six discs of Australian Bush ballads and folk music.
"The Three Ravens" is an English folk ballad, printed in the song book Melismata compiled by Thomas Ravenscroft and published in 1611, but it is perhaps older than that. Newer versions were recorded right up through the 19th century. Francis James Child recorded several versions in his Child Ballads.
"Lady Isabel and the Elf Knight" is the English common name representative of a very large class of European ballads.
"The Great Silkie of Sule Skerry" or "The Grey Selkie of Sule Skerry" is a traditional folk song from Orkney and Shetland. Sule skerry being a far flung island of the Orkney archipelago. A woman has her child taken away by its father, the great selkie of Sule Skerry which can transform from a seal into a human. The woman is fated to marry a gunner who will harpoon the selkie and their son.
"Geordie" is an English language folk song concerning the trial of the eponymous hero whose lover pleads for his life. It is listed as Child ballad 209 and Number 90 in the Roud Folk Song Index. The ballad was traditionally sung across the English speaking world, particularly in England, Scotland and North America, and was performed with many different melodies and lyrics. In recent times, popular versions have been performed and recorded by numerous artists and groups in different languages, mostly inspired by Joan Baez's 1962 recording based on a traditional version from Somerset, England.
"Young Hunting" is a traditional folk song, Roud 47, catalogued by Francis James Child as Child Ballad number 68, and has its origin in Scotland. Like most traditional songs, numerous variants of the song exist worldwide, notably under the title of "Henry Lee" and "Love Henry" in the United States and "Earl Richard" and sometimes "The Proud Girl" in the United Kingdom.
Sweet William's Ghost is an English Ballad and folk song which exists in many lyrical variations and musical arrangements. Early known printings of the song include Allan Ramsay's The Tea-Table Miscellany in 1740 and Thomas Percy's Reliques of Ancient English Poetry in 1765. Percy believed that the last two stanzas of the version he published were later additions, but that the details of the story they recounted were original.
"Bonnie Annie" is a folk ballad recorded from the Scottish and English traditions. Scottish texts are often called Bonnie Annie or The Green Banks of Yarrow, English texts are most often called The Banks of Green Willow. Other titles include The Undutiful Daughter, The High Banks O Yarrow, The Watery Grave, Green Willow, There Was a Rich Merchant that Lived in Strathdinah and The Merchant's Daughter.
"Henry Martin" is a traditional Scottish folk song about Henry Martin, a seafarer who turns to piracy to support his two older brothers. Writing in 1975, the musician and folklorist A. L. Lloyd described Henry Martin as "one of the most-sung ballads of our time."
"The Dowie Dens o Yarrow", also known as "The Braes of Yarrow" or simply "Yarrow", is a Scottish border ballad. It has many variants and it has been printed as a broadside, as well as published in song collections. It is considered to be a folk standard, and many different singers have performed and recorded it.
"Sir Hugh", also known as "The Jew's Daughter" or "The Jew's Garden", is a traditional British folk song, Child ballad No. 155, Roud No. 73, a folkloric example of a blood libel. The original texts are not preserved, but the versions written down from the 18th century onwards show a clear relationship with the 1255 accusations of the murder of Little Saint Hugh of Lincoln by Jews in Lincoln, making it likely that the known versions derive from compositions made around that time.
The British folk revival incorporates a number of movements for the collection, preservation and performance of folk music in the United Kingdom and related territories and countries, which had origins as early as the 18th century. It is particularly associated with two movements, usually referred to as the first and second revivals, respectively in the late 19th to early 20th centuries and the mid-20th century. The first included increased interest in and study of traditional folk music, the second was a part of the birth of contemporary folk music. These had a profound impact on the development of British classical music and in the creation of a "national" or "pastoral" school and led to the creation of a sub-culture of folk clubs and folk festivals as well as influential subgenres including progressive folk music and British folk rock.
