Abstract

A folk tune is brief enough to be readily grasped and remembered as a whole; it has an inner unity that makes it shapely to the ear and mind. As a temporal event, or succession of notes, it consists of a little tour through a sonic landscape; so that as we follow the course we recognize its topography; the setting forth, the approach to a turning point, a moment of heightened interest, a pause of retrospection or anticipation, a homecoming. It falls naturally into related, self-defining stages of its whole extent, revealing balance, contrast, and decision. The balance normally relies on approximately the same number of stresses in corresponding phrases; the contrast usually on tonal sequence and management; the decision appears in cadential statement, and held, or repeating, notes, like signposts at an intersection or junction. Because the tune is seized as a whole, and because several parts have these mutual references, we gain already the suggestion of stanzas of a certain pattern and identical length. Since the phrasal cadences get their weight and meaning from their relative emphasis and relation to the tonic, they inherently prompt corresponding verbal emphases of rhyme or pause. By their perceptible division or separation they exert, moreover, a pressure on the verbal partner, so that the total syntactical and rhetorical structure is palpably affected, and restricted, by their influence. Bertrand H. Bronson is the author of such influential works as Joseph Ritson: Scholar-at-Arms, Johnson Agonistes and Other Essays, In Search of Chaucer, and Facets of the Enlightenment and is the editor of the four-volume The Traditional Tunes of the Child Ballads. Among other honors, he has received the American Council of Learned Sciences Award. "Traditional Ballads Musically Considered" will appear in a slightly different version as the introduction to Singing Tradition, to be published by Princeton University Press