These week I chose to discuss an American Folk Song. The title of this piece is "All the Pretty Little Horses." This piece is performed by Becky Jean Williams. This is an American Lullaby which is evident in the soft sound and the lyrics that mention the "poor little baby." It is thought to be of African American origin but no one knows for sure. When reading Koops document titled, "Can't We Just Change the Words?" the issue of authenticity was raised. Koops mentioned that, at a workshop, someone was having difficulty with the words to a Gambian song. Someone else mentioned that the teacher should "just change the words." Koops wondered if all teachers treated foreign music in this way. Koops then gives strategies for ensuring the authenticity of music. Koops states we should look at authenticity as a continuum and that at one end of the continuum is a piece of music in its authentic setting and that as you go further away, it becomes less authentic. Koops warns teachers to give careful consideration to how far a piece of music should be taken on that continuum. Koops also states that the piece should remain historically accurate. Listening to this piece, "All the Pretty Little Horses" performed by Becky Jean Williams, I have determined that the performer did what she could to keep the piece accurate. The words are not changed to a completely different story, the tempo is slow like a lullaby should be, and the tone of her voice is hushed because she doesn't want to wake the baby. If the performer had changed this things, it would have made the piece less authentic. In addition, other things could have changed to make it less authentic as well such as using an electric guitar, singing it in a different language, and increasing the tempo. The performer did what she could to keep the piece authentic.
Koops, L.H. (2010). “Can’t we just change the words?”: the role of authenticity in culturally informed music education. Music Educators Journal 97, 23-28.
This is one of my favorite songs. I have taught this piece countless times to my voice lesson students. I have never heard this arrangement. I actually have a different interpretation as far as authenticity in regard to this piece. I feel that it is a modernized version of the original piece. True, her voice is very soothing and appropriate for the lullaby setting the song presents, but I think the instrumentation of the piece, especially toward the end, is very modern and I do hear effects of an electric guitar and modern instrumentation. There's also lots of higher chimes arpeggiating in there too. I'm interested to see what others have to say. Great song choice! Interesting perspective. Thanks!
ReplyDeleteHi Mary,
ReplyDeleteI also really love this song and this is quite a unique arrangement - I haven't ever heard one like it before. Personally, I think I am with Jordan on this one... My personal preference for a piece like this would be a less modern approach; one that uses an acoustic guitar, perhaps. I do appreciate you sharing this version, though, because it challenges my thinking about what exactly is necessary to preserve authenticity. Thanks Mary!
Great piece to make the authenticity debate very clear. Most teachers would use the version of this song we know from our vocal solo catalogues to teach our students, mostly late middle to early high schoolers, a safe contest appropriate solo. This version does provide a level of authenticity, in its sticking to the original tune. Other than the voice singing, wouldn't an acoustic piano be the most logical accompaniment device available at the time when the English text was added (1925)? I think the authenticity of the period instruments, or the way in which those instruments are played, have a profound effect on our view of how authentic the performance is to the original. I wonder if the piece would sound different had their been different period instruments available, or whether the instruments at all are necessary.
ReplyDeleteGood reflection on Koops’ models and discussion of the piece.
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