[37], Use of the term "shanty", once this paradigm for singing had become a comprehensive practice for most tasks, incorporated all manner of shipboard work songs under its definition, regardless of style and origin. Sea-shanties were work songs used by sailors to coordinate the efforts of completing chores such as raising the ship’s anchor or hauling ropes. A step up in sophistication from the sing-outs was represented by the first widely established sailors' work song of the 19th century, "Cheer'ly Man". The following example, a verse of the shanty "Boney" (in reference to Napoleon), shows the call and response form and the interplay between the voices of the shantyman and the crew. It is common to find phrases from minstrel songs of the late 1830s and 1840s in many shanties, like "A Long Time Ago," "Jamboree," "Johnny Come Down to Hilo," or "Johnny Bowker." Sea shanties were work songs used by sailors to coordinate the efforts of completing chores such as raising the ship’s anchor or hauling ropes. O shake that girl with the blue dress on, "[53] The implication is that this song was similar to a sailor song, probably the well-known shanty, "Haul Away, Joe" or "Haul Away for Rosie", viz. to him) born of popular songs. This is evidenced in the popular Folk music fake book Rise Up Singing, which includes such shanties as "Blow the Man Down," "What Shall We Do with a Drunken Sailor," and "Bound for South Australia". The origins of "Shenandoah," perhaps one of America's most recognizable folk tunes, are not so easily deciphered. In accord with popular perception of shanties as a genre many hundreds of years old, songs with documented existence to only the mid-19th century, at the earliest, have been freely used to portray scenes from the 18th century and earlier. Lloyd's album The Singing Sailor (1955)[115] with Ewan MacColl was an early milestone, which made an impression on Stan Hugill when he was preparing his 1961 collection,[116] particularly as the performance style it embodied was considered more appropriate than that of earlier commercial recordings. level 1. ", for example, Were you ever down in Mobile Bay? In the 1920s, while the proliferation of soft-scholarly books was reifying the shanty repertoire, a few American scholars were audio-recording some of the last surviving sailors that had sung shanties as part of their daily work. Work tasks might be of any length and often unpredictable. Shanties were sung without instrumental accompaniment and, historically speaking, they were only sung in work-based rather than entertainment-oriented contexts. In 1758 a small sickly baby boy was born, the son of the Rector of Burnham Thorpe in Norfolk. [80] Lyrics and ideas from Masefield's collection became among the most quoted or plagiarized in later shanty collections,[81] and by their sheer ubiquity these contributed to 20th century audiences' perceptions of the genre. Annual maritime festivals in coastal towns provide a gathering point for both amateurs and professionals, and the site for the introduction of new interpretations. How far do these songs date back? He claimed they were singing, "Heigh Jim along, Jim along Josey, Heigh Jim along, Jim along Jo! Others have been fascinated by "sea" themes, including "pirates" and the perceived freedom, wildness, or debauchery of sailor culture. James Madison Carpenter, made hundreds of recordings of shanties from singers in Britain, Ireland, and the north-eastern U.S. in the late 1920s,[97] allowing him to make observation from an extensive set of field data. This can be seen in the frequent lack of consensus, among different writers and informants, as to what job a given shanty was used for. for long periods. Such tasks, which usually required a coordinated group effort in either a pulling or pushing action, included weighing anchor and setting sail. Although "Cheer'ly Man" could be considered more "developed" than the average sing-out, in its form it is yet different from the majority of shanties that are known to us today, suggesting that it belonged to an earlier stage of sailors' songs that preceded the emergence of "modern" shanties. [160], Classical composers have used shanties and sea songs (or their melodies) in their works. Others suggest that it is of African-American origin, for it tells the tale of Sally, the daughter of the Indian Chief Shenandoah, who is courted for seven years by a white Missouri river trader. This great figure of British naval history was a close friend of Nelson…. The song evoked an 1887 response from Australian composer Frederick Augustus Packer in the far flung British colony at Port Arthur (Australia) [174]. When a great many men are employed together, a fifer or a fiddler usually plays some of their favourite tunes; and it is quite delightful to see the glee with which Jack will "stamp and go," keeping exact time to "Jack's the lad," or the "College Hornpipe. [118] A sailor would not generally sign on as a shantyman per se, but took on the role in addition to their other tasks on the ship. Broadly speaking, the categories for shanties can be understood in terms of whether the task(s) for which they were used was/were related to hauling or heaving. Discover stories from each decade. Howard, Henry, "Manning the New Merchant Marine,", "Sea Chanteys Kept Alive. Normally this type of ‘call and response’ shanty involves a solo shantyman singing the verse with the sailors joining in for the chorus. [114] In Britain, the incorporation of shanties into the folk revival repertoire was largely led by A.L. This is because modern rigging doesn't require many people to be working in the same rhythm for long periods. Their use as work songs became negligible in the first half of the 20th century. While songs with maritime themes were sung, all manner of popular songs and ballads on any subject might be sung off watch. The formal structure of a shanty is simple: it consists of a solo lead that alternates with a boisterous chorus. They required a coordinated show of focused exertion, not sustained, but rather at specific moments. Much of the historical shanty repertoire, being by definition designed to suit work, is less attractive as entertainment listening. The next revival in shanties occurred as part of the Anglophone folk music revival of the mid-20th century. The only songs that in any way resemble them in character are "Dixie", and two or three other so-called negro songs by the same writer. Away, you rolling river However, the genre is an international one; practices vary freely and are not limited to the following generalizations. Other shanties were adapted from land-based traditional songs, for example "Billy Boy" and "The Derby Ram.". All (refrain): John François![119]. "Sea Songs" may also refer to sea shanties. Only traceable back via the dictionaries to around 1869, there are a number of variations in the spelling of shanty, including chantey and chanty. However, Sharp believed that by eliminating such shanties based on popular songs, he could concentrate those that were "folk" songs. The same dictionary noted that French sailors said just that, and gave some indication what an English windlass chant may have been like: UN, deux, troi, an exclamation, or song, used by seamen when hauling the bowlines, the greatest effort being made at the last word. "Capstan shanties", some of which may have developed out of the earlier capstan songs discussed above, are quite variable in their form and origins. Others suggest that it is of Native American origin, for it tells the tale of Sally, the daughter of the Indian Chief Shenandoah, who is courted for seven years by a white Missouri river trader. simply making sure that each sailor pushed or pulled, at precisely the same time. Work proceeded to the strains of a fiddle, to the piping of the boatswain and his mates, or in earlier times yet, to the trumpet. Choirs like the Robert Shaw Chorale,[163] the Norman Luboff Choir,[164] and The Seafarers Chorus[165] have released entire albums of shanties and sea songs. North American professionals often perform solo or in very small groups, frequently using instruments. Although those terms were not in great evidence in the 19th century, some literary references to "fore-bitter" and, less so, "fo'c'sle song," attest to their use even prior to the appearance of "shanty. In an influential early article about shanties, New York journalist William L. Alden drew a comparison between shanties and both authentic African-American songs and the quasi-African-American minstrel songs: The old sailor songs had a peculiar individuality. The origin of the word "shanty" is unknown, though several inconclusive theories have been put forth. This particular old-fashioned style of windlass was one that required workers to continually remove and re-insert "handspikes" (wooden leverage bars) into the device to turn its gears. ‘Sea chanteys (sailors' songs) have been sung throughout the sea-faring Omanis' history.’ ‘The best moment of this set is the interlude between Scenes 2 and 3 in Act One, with the sound of moonlight on the water, the gentle heaving of the terrifying sea, and sailors below-decks keeping their courage up singing by sea chanteys.’
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