WHERE DID THAT TUNE COME FROM? TRANSMISSION OF TRADITIONAL MUSIC AND SONG IN CONTEMPORARY AUSTRALIA - Ruth Hazleton

 Where did that tune come from? Transmission of traditional music and song in contemporary Australia.

Ruth Hazleton 

The following research project was conducted after considering what impact the ‘folk revival’, or arguably ‘revivals’, have had on the dissemination of traditional music in Australia today. Widely recognized as a result of the resurgence in popularity of traditional and collected archival music during the 1950s, folk ‘revival’ performers and musicians are regarded as a different entity to ‘traditional’ musicians. One of the key differences between ‘revival’ and traditional musicians is the means by which traditional music is disseminated and learned - in particular, revival musicians commonly learn their craft outside of an immediate social or family folk environment and learn from a broader variety of sources.  This leads to the questions of how traditional music and song is, in fact, being transmitted today, and what learning methods do traditional musicians commonly utilise? Also taken into account is the role modern technology plays in the way musicians learn and circulate traditional music within their community, what draws musicians to traditional music, and how they experience their own musical community. The following exploration and discussion of the above topics has been based on results gleaned from an online survey conducted in 2006. 

Aims and Methodology: 

This project was intended to be an enquiry of sorts. Rather than approaching these topics in a purely theoretical light and drawing subsequent conclusions, this paper aims to let performers and players of traditional music ‘speak for themselves’. It is not an extensive project but rather an insight into the processes used by practicing folk musicians, and a basis on which further research might be conducted.

In an attempt to reach a significant number of musicians from all over the country who play traditional music from different traditional backgrounds, a questionnaire was developed and distributed by email through the Folk Australia and AusFolk E-mail forums.  Subscribers to both of these forums are typically individuals who have some involvement or interest in the Australian folk music industry, including musicians who perform in either a professional, semi-professional or occasional capacity.  

In addition to the above sample, information compiled from a fieldwork project on Irish traditional music in Melbourne (also conducted in 2006) has also been incorporated as part of the results of this project. Thus, valuable insights into the experiences of over thirty musicians and performers of traditional music and song have contributed to the discussion presented below. For the purposes of this paper, all references to traditional music incorporates both instrumental music and song, as both musical forms require similar skill development and represent tradition in a similar way.

The survey consisted of eight questions, which will form the basis of this discussion. Some of the responses were brief, but most respondents gave detailed personal answers. The first question posed was: When you were learning to play traditional music, how did you learn the tunes or songs? Were they learned from another player or players, archival recordings, CDs, sheet music, etc?

In answer to the first question, most respondents claimed that when they were beginning to learn traditional music they were strongly influenced by recorded media. Depending on the individual’s vintage, these sources include vinyl records, cassettes, CDs and archival recordings. One informant described using a record player and slowing it down to half-speed (thus an octave lower) in order to try and mimic the ornamentation used in Irish fiddle tunes.  Another commented that playing along with recorded music is one of the best ways to learn tunes in particular, and a great way to develop the skill of playing by ear.  Most respondents were strongly influenced by popular revival recordings of the 60s and 70s, including younger musicians, and archival recordings (particularly those made by collector John Meredith) were popular among those who have a passion for Australian music. Undoubtedly, LPs, cassettes and CDs have informed many Australian performers of traditional music to a large extent.

However, a number of respondents claimed that most of their initial musical education was derived solely from playing with other individuals. One in particular claims that he has never learned tunes from recorded sources and rarely listens to recorded traditional music at all.  Almost all of the respondents confirmed that exposure to live music played a significant part in their musical education and many claimed that they learned from a combination of recorded and live music. Often, the learning process was due to interaction with older and more competent players and singers with much experience. One respondent referred to learning from older musicians as “the real learning” process.  From the responses given, it is clear that learning from other players is a deeply significant experience. With it comes an unsaid obligation and willingness to listen, absorb and learn, which appears to be an attitude that most traditional musicians carry with them throughout their lives.

A lesser number of respondents cited sheet and printed music as a major resource for learning traditional music. These include well-loved books like Begged, Borrowed and Stolen and publications issued by revival organisations such as the Sydney Bush Music Club and the Victorian Folk Music Club. 

In answer to the second question – whether or not respondents learned from similar sources now – the answers varied. After assessing people’s responses, it appears that most now rely on their musical peers as their main source of traditional music. Perhaps this is because they have become proficient at their instrument and have reached a greater level of musical confidence. It is also feasible that once a musician enters a good community of traditional players and singers, repertoire is available in abundance.  Many musicians, including one who participated in this survey, admitted to learning tunes and songs over the phone at times, illustrating the connection between musicians in relation to their shared passion for music.  It is also obvious that traditional musicians will go to great lengths to find traditional music resources. Many commented that a song sung or tune played at a party will often capture the imagination of the group as a whole. Echoes of “I have to have that song!” or “I have to have that tune!” will circulate among the group and thus the folk process begins. 

Still, recorded music is undoubtedly one of the greatest sources of dissemination for traditional music in contemporary times and has been so since the days of vinyl records. Thus recorded music is a very significant and meaningful mode of transmission, and is not dismissed by musicians because of a supposed ‘lack of authenticity’ or commercial format. The nature of industry that surrounds traditional music globally indicates that many recordings of traditional music are independent releases and are not often produced on a massive commercial scale. Therefore this music isn’t as easily accessible as commercially released music. It also should be noted that traditional music is often circulated illegally in that many rare, hard-to-find and independent recordings are often passed from one musician to another as ‘burnt’ copies, as many admitted they had done in the survey. 

One respondent noted that musicians will often seek out recorded material after hearing someone play a tune or sing a song that was learnt from a particular CD.  Similarly, a tune taken from a CD is often learned by one individual, and then circulated aurally within a group. The group in turn will then accept it into their common repertoire. When this occurs, the tune or song becomes developed and changed by the group and it is this version that will become part of the group’s music tradition, as opposed to the version originally taken from the recording. The same applies to digital products such as IPods and IRiver technology, which were less commonly used within the sample, but still present.  One individual described learning from recorded material thus; “After a while instead of mimicking [tunes], I end up innovating and embellishing and adding bits on, fiddling in other words I spose (sic)…”  Also noted from various interviewees was the shared belief that learning a traditional piece of music or song from a recorded source and simply replicating it without interpretation is also generally considered to be bad musicianship.

Another important source for the dissemination of traditional music is the Internet. Websites like ‘Mudcat’ and ‘Contemplator’ are becoming more and more popular and are used by traditional musicians all over the world.  These websites are interesting in that you can access numerous versions of a song or tune at one time, source where the music was collected from, read information about its history, and also listen to the melody, which is usually played once and with no accompaniment. This encourages the musician to interpret the piece of music from the beginning. 

Before moving on to the next topic, it should be noted that according to the sample, sheet music was used less by traditional musicians over time, (many began learning using notated music but now do not). There is also an indication that archival sources are becoming a more common source of traditional music. This may be due to the number of archival recordings that have been released and re-released commercially over the last twenty years by institutions such as the Smithsonian Institute (USA), National Library of Australia and the BBC in Britain.

The next question asked, ‘Have you ever used a Mini Disc player or other recording equipment to record tunes or songs in order to learn them?’ was designed to determine whether or not recording technology has become at all prevalent as an aid to aural learning. The short answer to this question is yes. Many respondents have used Mini Disc and cassette recorders at some stage to record at festivals, in sessions and at workshops. A few noted that they use recording equipment mainly when travelling overseas, and others commented that while they own the technology they rarely use it for purposes other than rehearsal and as a memory aid. Other formats employed by respondents included video, mobile phone, flash memory Dictaphone, IRiver technology and one individual even referred to the reel-to-reel recorder he has owned since the 60s, though he doesn’t have much use for it now!  Approximately a quarter of respondents claimed that they didn’t use recording devices at all, some for ethical reasons. Certainly the appearance of a Mini Disc recorder in a session can be a cause of contention. One individual stated, “I think recording a session is neglecting the spontaneity. If the tunes don’t stay with me I haven’t heard them enough (so I have to go to more sessions) or they aren’t worth remembering”.  

This comment leads to the next question I asked, which was ‘Do you learn music by ear or read music?’ By far, learning by ear is the most popular method adopted for learning traditional tunes and songs among this sample. Only two respondents claimed that they always used notated music to learn traditional music, and a third of respondents claimed to utilise both skills regularly. In their comments, many stated that while they have the basic ability to read music, they deliberately do not use these skills very often. One informant quoted an interview with Pete Seeger in response to this question. When asked if he reads music, Seeger replied “Yes, but not enough to interfere with my playing”.  Another respondent echoed this feeling when he stated “I can read music pretty fluently, to the point where it’s a hindrance. I am trying not to use music where possible”.  

These results suggest that learning aurally is prevalent among players of traditional music in Australia and that playing by ear is a skill that is highly valued among traditional musicians. Many respondents admitted to not being able to read music well or at all, while others who can read music use this skill as a memory aid or last resort. One response to this question also illustrates that not being able to read music does not necessarily hinder learning from notated sources, when she admitted that she sometimes asks a friend who can read music to play notated tunes so she can then learn them in turn by ear.  A few respondents also noted that playing by ear is essential when learning in a ‘session’ environment and that often, teachers of traditional music will encourage learning by ear as a preferred learning process. In most cases, learning methods also largely depend on what resources are available to the individual, and what skills the musician has developed over time. 

The remaining questions asked in this survey were in relation to the formal performance of traditional music and the role that community plays amongst traditional musicians. The following two questions prompted some very detailed responses from the sample group and raise so many issues that they could be addressed in a separate study altogether. These questions were ‘How does performing differ from playing spontaneously or socially without a formal audience?’ and ‘Why do you perform traditional music?’

Responses to the first question were incredibly varied and in some cases, in direct conflict with each other. One of the first responses received was; “This question doesn’t seem to fit my reality. Most of our playing is to some extent spontaneous, and we rarely have what I would call a formal audience.”  This response was relevant in terms of the genre of music being performed, in this case, Balkan music. He also commented, “To an Anglo audience we feel we need to explain and justify what we do, [whereas] the Balkan audience tell us what to do”.  This is a very interesting response and translates to other transplanted traditions extant in Australia today including Transylvanian and Hungarian traditions where the music is still intrinsically related to traditional dance and performance is not presented in the standard performer / audience format. Instead the band is an integral part of an event where everyone participates.

Another comment that was echoed by a number of musicians was; “I try to play in performance the same way I play in sessions, with the same relaxed and free swinging movement”.  Another stated, “I can safely say that my playing doesn’t differ at all from playing socially”.  Despite these comments, most individuals recognize that there is a higher stress level involved in performance and that a performance environment sometimes inhibits the musician’s ability to improvise or to be spontaneous. 

Other informants were very aware of the obligation of a performer to entertain, and thus the music itself chosen for performance is more often consciously tailored to appeal to an audience. One person commented that performance is solely focused on the audience rather than playing for personal enjoyment, and requires a professionalism that does not exist in social playing.  Many respondents also noted that presenting traditional music requires serious rehearsal and much more attention is paid to arrangement than when they are playing socially.

This leads us to the latter question that was asked. ‘Why do you perform traditional music?’ Again this question garnered conflicting answers. While some individuals said they do not primarily perform for their own enjoyment, others claimed that they do in fact mainly perform for their own enjoyment. Those who do enjoy performance derive pleasure from making contact with an audience, and also enjoy the challenge of presenting traditional music publicly. One of the informants, an Irish fiddle player, claimed that he enjoys having the opportunity of expressing himself and communicating musically in a formal setting. In addition to this, performance gives him the opportunity to present the skills he has developed over thirty years of playing.  

Aside from performance, many participants were very responsive in regard to why they play traditional music generally. For most, the answer is simply “because I love it”. Other responses included “perhaps the deepest experiences of my life [is] making music”, “it helps to build communities and relationships in a positive way”, “I like the sense of history and culture [it] imparts”, “It can be turned to political”, “It feels familiar” and “It somehow resonates with me. I can’t imagine not doing it!”  These responses illustrate the depth of emotional connection that traditional musicians feel toward the music. One of the most pithy and illustrative responses to this question was “why does a bear defecate in the arboretum?”  As another respondent put it, “ [I perform traditional music] for the same reason as I perform rock or blues or any other genre. I love it. If I don’t like the tune I don’t play it – just like the old folk. They did not differentiate between traditional or (in their day) contemporary, and would play a beautiful traditional (unnamed) waltz in the same bracket as a contemporary waltz”.  A number of individuals also indicated that their love for traditional music did not mean that they play this genre exclusively, but predominantly because the style/s of music appeal to them the most.

One of the more interesting features of the responses to this question was the noticeable lack of nostalgia associated with traditional music. Only five respondents claimed that they performed traditional music because they felt a responsibility to pass on and preserve the tradition. The majority felt as though they were part of an already healthy and strong tradition. One informant commented that tradition is a living entity that grows stagnant when a group does not develop and change the tradition.  This comment leads us to the relationship between traditional music and community.

The second-last question proffered was “Do you feel you belong to an immediate musical community and if so, what does it mean to you in terms of your every-day life?” Certainly the most humorous response to this question was “do you mean the Secret League of fat, bearded middle-aged men?”  This statement probably says more about the pre-conceived stereotype of an Australian ‘folkie’ than a realistic representation of the community itself. A majority of respondents identified with belonging to a musical community oriented around traditional music. Communities that were named in these responses included immediate social communities, communities based on cultural background or genre of music played, local communities, organised communities such as folk clubs, folk societies, session communities, and communities created through regular attendance of festivals across Australia. Sometimes, performers of traditional music can attend five to ten festivals or folk events per annum, (more if they perform professionally), and some feel they belong to a community of wandering musicians who meet regularly in different places. 

A number of individuals felt that they were a part of distant communities maintained by email communication, while others who live in remote areas do not have regular contact with an immediate community at all. Others even expressed that they have become disillusioned with their musical community. One Australian born musician who plays Balkan music recently moved from Melbourne to Tasmania and commented “We are back in a pretty Anglo-centric environment so our music is odd. We are appreciated, but our music makes us feel foreign in our own home”.  Such statements are an indicator of how significant music can be in relation to sense of community.  

Suffice to say, traditional music is often created and nurtured within shared experience, and community is essential to fostering tradition, especially in a country like Australia. Most informants expressed that their involvement with traditional music, regardless of how often they perform, plays a very important and meaningful role in their everyday life. This sense of community also appears to have a direct impact on an individual’s identity, who they are and where they belong.

The last question asked in this survey was “What genre or style of traditional music do you play?” Again referring to perceived stereotypes, one answer to this question was “Fiddly Diddly, Mellow Elbow, Mouldy Oldy and Nostalgia”.  This question is pertinent in terms of establishing whether or not most respondents identified mainly with Anglo-Celtic traditions, which was indeed the case. However, many of the respondents perform traditional and contemporary music from all over the world. This may be due to the increased commercialisation and popularization of  ‘world’ music over the last ten years in addition to the popularity of international acts at festivals and clubs. In part it could also be argued that this is also due to interaction between Australian musicians and immigrant musicians who carry with them traditions from their home countries.

One of the most common answers to the above question was “everything and anything”. Traditional music is often presented alongside contemporary songs and popular songs, and often, performers do not specialise in one genre of traditional music. Styles of music played by participants in this project included: Australian, Irish, English, Scottish, Breton, English Morris, South American, Japanese, Indian, Macedonian, Bulgarian, Greek, Turkish, Hungarian, French-Canadian, American, Klezmer and Romani music and music from Eastern European traditions. 

As illustrated by the above list, the repertoire of today’s revival musicians is extensive, even within a small interview sample. Those individuals who participated in this project are, in a sense, members of one folk community who share common social connections and networks, and a broader project may or may not glean similar results. Despite this, the information provided by respondents is a valuable indicator of the processes used by traditional musicians when learning traditional music, and what resources they use to source traditional material. Similarly there is a strong indication of this group’s beliefs in regard to how traditional music should be treated and disseminated in both social and formal performance environments. Perhaps the most transient aspect in analysing contemporary modes of transmission is the role that technology has to play; what information is becoming increasingly available to the wider community and how the development of technology is allowing individuals to share information more easily and frequently. From reel-to-reel recorders to the modern iPhone - a topic for further enquiry perhaps.  

NOTES AND REFERENCES

  Gwenda Beed Davey and Graham Seal eds. The Oxford Companion to Australian Folklore, (South Melbourne: Oxford, 1993), 139.

  Folk Australia, http://folkaustralia.com (accessed 24 May 2010). The Folk Australia forum is a subscriber based e-newsletter related to the Folk Australia website. Folk Alliance Australia, ‘Ausfolk - Aus Folk Chat List’, www.folkalliance.org.au/mailman/listinfo/ausfolk_folkalliance.org.au (accessed 24 May 2010) The Ausfolk discussion forum is another subscriber based discussion list hosted by the Folk Alliance Australia website. 

  The researcher acknowledges that using email as the primary vehicle for research limits the information collected. The sample does not include many musicians who do not have email access or are not members of the Folk Australia and Ausfolk forums. A larger scale project would incorporate additional fieldwork and responses gleaned from written sources.

  Male, Fiddle player (Irish tradition), Melbourne, Vic, 7 February 2006

Originally, material collected for this project was not intended for publication, therefore relevant publication permissions were not sought from interviewees / informants. Thus personal information has not been included in footnotes.

  Male, Fiddle and guitar player (Irish tradition), Melbourne Vic, 7 February 2006

  Male, Fiddle, banjo and guitar player (Irish and American old time traditions) Melbourne Vic, 13 February 2006

  Male, Bass, two-sided drum, bagpipe, tulum, davul and agion player (Turkish, Romani, Balkan and Greek traditions), Tasmania 15 March 2006

  Chris O'Connor and Suzette Watkins: Begged, Borrowed & Stolen, (Talunga Music, 1979) Singabout was published by the Bush Music Club (Sydney) in between 1995 - 1968 and contained dance tunes and songs in every edition. This was named as a popular resource by interviewees, as were publications by the Victorian Folk Music Club. A similar independent publication by the latter organisation was Australian Tradition; also a popular resource for traditional music in between 1963 - 1974.

  Female, singer, guitarist and banjo player, (English and American traditions) Melbourne, Vic 7 February 2006

  Male, Fiddle and guitar player (Irish tradition), Melbourne Vic, 7 February 2006

  The popularity in 2010 of Ipod technology, along with IPhones and other digital technologies may well have become more prevalent as a tool for disseminating traditional music since the time this survey was conducted.

  Male, Fiddle Player (Scottish and Irish traditions primarily - sometimes bluegrass and gypsy music), Canberra ACT, 15 March 2006

  The Mudcat Café, ‘Digital Tradition Datbase’, UK, www.mudcat.org (accessed 25 May 2010)

    Contemplator, ‘Folk Music of England, Ireland, Scotland, Wales and America’, UK, www.contemplator.com/folk.html (accessed 21 May 2010)

  Male, Concertina and harmonica player and singer, (Australian tradition) Sydney NSW, 15 March 2006

  Male, Whistle and uilleann pipe player (Irish tradition), Canberra, ACT 15 March 2006

  Male, Accordion player and singer, (Australian, Celtic and European traditional and contemporary music - especially dance tunes), Forbes, NSW 15 March 2006

  Male, Guitarist and multi-instrumentalist, (Celtic dance tune tradition), Vic, 15 March 2006

  Female, Guitar, autoharp, fiddle player and singer (Celtic tradition), Northern Tasmania, 19 March 2006

  Male, Bass, two-sided drum, bagpipe, tulum, davul and agion player (Turkish, Romani, Balkan and Greek traditions), Tasmania 15 March 2006

  Ibid

  Male, Guitar player and singer, (Celtic and South American traditions), Castlemaine, VIC, 15 March 2006

  Male, Guitarist and singer, (Australian and Celtic music), Maldon VIC, 15 March 2006 

  Male, Concertina and melodeon player, (Celtic and Australian dance music tradition), Melbourne VIC, 15 March 2006

  Male, Fiddle player (Irish tradition), Melbourne, Vic, 7 February 2006

  Male, Bass, two-sided drum, bagpipe, tulum, davul and agion player (Turkish, Romani, Balkan and Greek traditions), Tasmania 15 March 2006, Male, Guitar player and singer, (Celtic and South American traditions), Castlemaine, VIC, 15 March 2006, Female, Singer (English and Australian traditions), Sydney NSW 15 March 2006, Male, Concertina and melodeon player, (Celtic and Australian dance music tradition), Melbourne VIC, 15 March 2006, Male, Fiddle Player (Scottish and Irish traditions primarily - sometimes bluegrass and gypsy music), Canberra ACT, 15 March 2006, Male, Singer - instruments played unknown, (Australian and Anglo-Celtic dance traditions), rural VIC, 15 March 2006

  Male, Singer, guitar and bouzouki player (Celtic, European and Mediterranean traditions), Fremantle, WA, 14 March 2006

  Male, Accordion player and singer, (Australian, Celtic and European traditional and contemporary music - especially dance tunes), Forbes, NSW 15 March 2006

  Female, Fiddle player and Singer (Celtic and American old time traditions, Geelong, VIC, 13 February 2006

  Male, Mandolin player and singer, (Australian, Breton, Asturias and Celtic traditions (song and dance), Bathurst NSW, 21 March 2006

  Male, Bass, two-sided drum, bagpipe, tulum, davul and agion player (Turkish, Romani, Balkan and Greek traditions), Tasmania 15 March 2006

  Male, Fiddle Player (Scottish and Irish traditions primarily - sometimes bluegrass and gypsy music), Canberra ACT, 15 March 2006,