“Folk process”的意思、由来-开放百科全书

In the study of folklore, the folk process is the way folk material, especially stories, music, and other art, is transformed and re-adapted in the process of its transmission from person to person and from generation to generation. The folk process defines a community—the "folk community"—in and through which folklore is transmitted. While there is a place for professional and trained performers in a folk community, it is the act of refinement and creative change by community members within the folk tradition that defines the folk process.^[1]

History

The phrase was originally coined by musicologist Charles Seeger, father of the folk singer Pete Seeger,^[2] but the underlying concept goes back all the way to 1907, when Cecil Sharp^[3] observed that the transmission of folk songs and the forms they took when they were collected and attested was the result of three factors: continuity, variation, and selection.^[4] These factors were expanded on in 1954 by the International Folk Music Council, which wrote that:

Operation

The transformation and reinterpretation of received material is central to the folk process. The traditional Irish lament "Siúil A Rúin", with its macaronic mixed language Irish and English lyrics:

was reinterpreted in the nineteenth century United States and turned into the song "Johnny Has Gone for a Soldier" or "Buttermilk Hill", which has several variations, which preserve different parts of the original, as in a version collected by Walt Whitman:

Whitman's version preserved a line of Irish-derived doggerel (Shool, shool, shool agrah); the other version is entirely English.^[6]^[7]

The transformation of the material can be quite thorough. The Child ballad^[8] "Matty Groves", a murder ballad that begins with adultery and ends in a duel and the death of the title protagonist, becomes the American love song "Shady Grove". The basic tune is often kept intact, sometimes transposed to a major key from the original minor, but the narrative of the original song is no longer found in the American version.^[9]

Mass culture and the folk process

Through the folk process, the subjects of folk song and narrative are adapted to better suit the times; lyrics can be added, or removed; parts that are no longer understood can be re-interpreted or discarded. The result is a new bit of folklore that the next generation will continue to preserve in its new form. The folk process started to become problematic, first, when it began to operate on the copyrighted and commercial products of mass culture, and the appropriation and commercialization by mass culture of folk narrative and music which, being distributed by the mass media, become the newly canonical versions of the tradition.

One famous example of the conflict between the desire of artists to assert copyright and the folk tradition is the case of the ballad Scarborough Fair. Scarborough Fair is a traditional British folk song with many variations, which was reworked by Simon and Garfunkel for their 1966 album Parsley, Sage, Rosemary and Thyme, however unlike the artists of previous generations, Simon and Garfunkel asserted sole authorship of the song.

The Internet and digital media, enabling consumers of culture to copy, alter, and select bits of both folk and mass culture, has tended to accelerate the folk process.^[2]^[10]

The transformation of mass culture by the folk process goes back to the origins of mass culture; many old and traditional poems and ballads are preserved among the printed broadside ballads. Professionally composed music, such as the parlor ballad Lorena by H. D. L. Webster, were transmitted by performance and became subject to the folk process.^[11] Folk and mass culture can cross-pollinate each other; a nineteenth-century broadside, The Unfortunate Lad, became the American cowboy standard Streets of Laredo, the jazz standard St. James Infirmary Blues, and strongly influenced the Marty Robbins hit El Paso.^[12]^[13]^[14]

See also

References

1. ^{{cite book | title=Story/telling | publisher=Univ. Queensland Press | author1=Levy, Bronwen Ann|author2=Murphy, Ffion | year=1991 | url=https://books.google.com/books?id=5Rhqzx0oPOgC&pg=PA43&dq=%22folk+process%22&hl=en&sa=X&ei=ao8cT5_nLoTDgAfF3oC7CA&ved=0CEcQ6AEwBA#v=onepage&q=%22folk%20process%22&f=false | page=43}}
2. ^¹{{cite web | url=http://www.prismjournal.org/fileadmin/Social_media/Egenes.pdf | title=Commentary: The remix culture; How the folk process works in the 21st century | publisher=Prism Journal 7(3) | accessdate=January 20, 2012}}
3. ^{{cite book | title=English Folk Song: Some Conclusions | author=Sharp, Cecil | year=1907 | url=https://archive.org/details/englishfolksongs00shar}}
4. ^{{cite book | title=Folklore: an encyclopedia of beliefs, customs, tales, music, and art, Volume 2 | publisher=ABC-CLIO | author=Fowler, Thomas | year=1997 | page=807 | isbn=0-87436-986-X}}
5. ^{{cite web | url=http://www.mustrad.org.uk/enth30.htm | title=Matters of Texture, Function and Context | publisher=Musical Traditions | date=February 25, 2002 | accessdate=January 20, 2012 | author=Yates, Mike}}
6. ^{{cite journal | url=Stable URL: http://ir.uiowa.edu/wwqr/vol20/iss2/3 | title=Remembering, Not Composing: Clarifying the Record on "I’ll Trace This Garden" | author=Jewell, Andrew | journal=Walt Whitman Quarterly Review |date=Fall 2002 | volume=20 | issue=2 | pages=78–81}}
7. ^{{cite web | url=http://www.ushistory.org/carpentershall/edu/songs.htm | title=Songs of the Revolution | publisher=ushistory.org | accessdate=January 21, 2012}}
8. ^{{cite web | url=http://en.wikisource.org/wiki/Child%27s_Ballads/81 | title=Child Ballad 81, The Old ballad of Little Musgrave and the Lady Barnard | accessdate=January 21, 2012 | author=Anonymous}}
9. ^{{cite book | title=Kentucky Country: Folk and Country Music of Kentucky | publisher=Univ. Kentucky Press | author=Wolfe, Charles | year=1999 | page=7 | isbn=0-8131-0879-9}}
10. ^{{cite journal | url=http://www.technologyreview.com/article/400696/digital-land-grab/ | title=Digital Land Grab | author=Jenkins, Henry | journal=Technology Review |date=Mar–Apr 2000 | volume=103 | issue=2 | pages=103–105}}
11. ^{{cite book | title=American Ballads and Songs | publisher=C. Scribner and Sons | author=Pound, Louise | year=1922 | url=https://books.google.com/books?id=Q6A9AAAAYAAJ&printsec=frontcover#v=onepage&q=Lorena&f=false | page=xxiii}}
12. ^{{cite web | url=http://www.bestofneworleans.com/gambit/name-that-tune/Content?oid=1244407 | title=Name That Tune | publisher=gambit.com | date=June 14, 2005 | accessdate=January 21, 2012 | author=Walker, Rob}}
13. ^{{cite news | title=The Unfortunate Rake: A Study in the Evolution of a Ballad | work=(liner notes to sound recording) | year=1960 | agency=Folkways Records | author=Goldstein, Kenneth}}
14. ^{{cite web | url=http://www.salon.com/1999/10/06/onesong/ | title=The magical mystery tour | publisher=salon.com | date=Oct 6, 1999 | accessdate=January 21, 2012 | author=Vowell, Sarah}}