Though not all directly quoted from, the following links have proved integral to amassing the relatively small amount of information available on the hurdy-gurdy.
Websites:
1. http://www.bookrags.com/tandf/music-9-tf/
2. http://www.imc-cim.org/mmap/pdf/prod-serra-e.pdf
3. http://www.hurdy-gurdy.org.uk/history.html
4. http://www.exulanten.com/hurdy.html
5. http://www.essentialvermeer.com/folk_music/bagpipe_a.html
6. http://www.viswiki.com/en/Lirnyk
7. http://www.idahostatesman.com/2010/07/11/1263168/hurdy-gurdy-girls-on-frontier.html
8. http://www.hungarian-history.hu/lib/timeless/chapter03.htm
9. http://www.gurdypedia.com/Gurdypedia/Miscellany/Entries/2010/10/16_%E2%80%9COld_Sarah%E2%80%9D_-_the_well-known_hurdy-gurdy_player.html
10. http://science.jrank.org/pages/7893/Music-Anthropology.html
11. http://www.hurdygurdy.org/pdfs/hghistory.pdf
12. http://www.encyclopedia.com/doc/1G2-3424300511.html
Books:
1. Stolba, Marie, “The Development of Western Music.” Brown and Benchmark, 1990
2. Johnston, Ian, “Measuered Tones.” IOP Publishing LTD., 1989
3. Grout, Donald and Palisca, Claud, “A History of Western Music.”, Norton and Company Inc, 1960
Sunday, December 12, 2010
A final note on Music and Anthropology, the hurdy-gurdy as an “excuse to explore humanity.”
Music and Anthropology have been combined only relatively recently, and the means of approach to music from an anthropological standpoint have been in debate for some time. Many criticisms have been brought forth, including this one written by Ruth Finnegan “any ethnography should obviously include basic information such as relationship, social organization, ways of life, working assignment,, economic and political systems, religion, basic language characteristics, historic background, and perhaps some lesser attention to visual and plastic arts, but «marginal» and «specialized» aspects of culture such as musical performance or oral literature could be set aside as minor issues.”(http://www.imc-cim.org/mmap/pdf/prod-serra-e.PDF) This criticism proved a surprisingly common held view for some time, though today musical anthropology enjoys wider practice. Three orientations have emerged in this field,
“(a) an emphasis on musical sound, styles, and performance in non-Western societies described in their cultural context; (b) an emphasis on analyzing musical sound and style in dialectic with social processes through the application of anthropological methods and concerns; and (c) an emphasis on social life and processes as studied through musical styles and performance ("musical anthropology").” (http://science.jrank.org/pages/7893/Music-Anthropology.html)
Much of the debate surrounding the practice has centered around disagreement over the most basic idea of what music actually is. Though these arguments can often seem like splitting hairs, it is not entirely unfounded that this topic has experienced controversy and debate in the field of anthropology. In the western world, the definition of music as sound arranged by individuals and groups to be heard for pleasure, religious services, etc. This definition “‘music’ is a useful way of focusing on aspects of performance and ideas which are of great cultural significance, it encourages the application of musicological concepts whose scope is limited outside of the practice of Western European art music, and also divides experiences (through defining ‘music’ in opposition to ‘speech’ or *‘dance’) which other people might not consider divisible. (http://www.bookrags.com/tandf/music-9-tf/) As cultures change and differ from each other so often, a solid definition of any aspect of culture is sure to be challenged by the practices and behaviors of some group of people on the Earth. In many cultures, what the west would be consider “music” takes on a role and practice so different from that of say, a musician in the United States, that similarities truly end at the organized production of sound.
The following quote by Alvaro Adib Barreiro, Carlos Santos and Carlos Serra has by an large influenced this author in his approach to this study; “The purpose of this contribution is trying to prove how, from the anthropological point of view, it is possible to investigate “music” as well as human activity without the need for technical and musical analysis of performance, composition, or execution, but from a different perspective.”(http://www.imc-cim.org/mmap/pdf/prod-serra-e.PDF) The authors go on to say that “In other words, music could be the “excuse” for the study of certain social relationships. This shifting also appears as an efficient alternative to set the limits of object of the anthropological study.”(http://www.imc-cim.org/mmap/pdf/prod-serra-e.PDF)
As seen in previous post’s, by taking this approach and examining the use of one instrument (the hurdy-gurdy), one can find a wealth of both differences and similarities surrounding human culture and music. The hurdy-gurdy has found popularity throughout the western world, and it’s use has been a means of employment, a way of life among the blind and otherwise disabled, a center piece for early medieval religious music and practices, while, in some cultures simultaneously, the instrument has been looked down on as “lower class”(While again in other instances this reputation has made it an object of interest to the upper class as well as one of disdain), a beggars tool, and it’s users have even been the subject of violent social control and persecution. Even a rare instrument such as the hurdy-gurdy has shown us that music is by no means easily definable, nor even the means of it’s practice. The countless names, models, and uses of this instrument are not only a testament to itself but also to the power and influence music has had throughout history among any culture that can be found on this Earth.
“(a) an emphasis on musical sound, styles, and performance in non-Western societies described in their cultural context; (b) an emphasis on analyzing musical sound and style in dialectic with social processes through the application of anthropological methods and concerns; and (c) an emphasis on social life and processes as studied through musical styles and performance ("musical anthropology").” (http://science.jrank.org/pages/7893/Music-Anthropology.html)
Much of the debate surrounding the practice has centered around disagreement over the most basic idea of what music actually is. Though these arguments can often seem like splitting hairs, it is not entirely unfounded that this topic has experienced controversy and debate in the field of anthropology. In the western world, the definition of music as sound arranged by individuals and groups to be heard for pleasure, religious services, etc. This definition “‘music’ is a useful way of focusing on aspects of performance and ideas which are of great cultural significance, it encourages the application of musicological concepts whose scope is limited outside of the practice of Western European art music, and also divides experiences (through defining ‘music’ in opposition to ‘speech’ or *‘dance’) which other people might not consider divisible. (http://www.bookrags.com/tandf/music-9-tf/) As cultures change and differ from each other so often, a solid definition of any aspect of culture is sure to be challenged by the practices and behaviors of some group of people on the Earth. In many cultures, what the west would be consider “music” takes on a role and practice so different from that of say, a musician in the United States, that similarities truly end at the organized production of sound.
The following quote by Alvaro Adib Barreiro, Carlos Santos and Carlos Serra has by an large influenced this author in his approach to this study; “The purpose of this contribution is trying to prove how, from the anthropological point of view, it is possible to investigate “music” as well as human activity without the need for technical and musical analysis of performance, composition, or execution, but from a different perspective.”(http://www.imc-cim.org/mmap/pdf/prod-serra-e.PDF) The authors go on to say that “In other words, music could be the “excuse” for the study of certain social relationships. This shifting also appears as an efficient alternative to set the limits of object of the anthropological study.”(http://www.imc-cim.org/mmap/pdf/prod-serra-e.PDF)
As seen in previous post’s, by taking this approach and examining the use of one instrument (the hurdy-gurdy), one can find a wealth of both differences and similarities surrounding human culture and music. The hurdy-gurdy has found popularity throughout the western world, and it’s use has been a means of employment, a way of life among the blind and otherwise disabled, a center piece for early medieval religious music and practices, while, in some cultures simultaneously, the instrument has been looked down on as “lower class”(While again in other instances this reputation has made it an object of interest to the upper class as well as one of disdain), a beggars tool, and it’s users have even been the subject of violent social control and persecution. Even a rare instrument such as the hurdy-gurdy has shown us that music is by no means easily definable, nor even the means of it’s practice. The countless names, models, and uses of this instrument are not only a testament to itself but also to the power and influence music has had throughout history among any culture that can be found on this Earth.
Saturday, December 11, 2010
The Hurdy Gurdy and Modern Use.
The Hurdy Gurdy in the Modern World.
Use of the hurdy-gurdy decreased greatly world-wide, culminating around the beginning of the 20th century when industrialization and modernization became driving social and economic forces in the Western World. Though extremes, like the persecution of the Russian Lirnyk, existed, at large the decline of this instrument was a quite one. It’s being replaced with other instruments, a general decline in the popularity and acceptance of street musicians over all, and the advent of new forms of music all contributed to the decrease of hurdy-gurdy use. It’s decline can be likened to a similar instrument, the bag-pipe, though the bag pipes continued popularity in places like Scotland make it a more commonly known instrument even the hurdy-gurdy.
However, a cross continent revival of folk music and art that began around the 1960’s has brought the instrument back into use. As mentioned, Donovan unwittingly aided this by naming his album “the hurdy-gurdy man“. As revivals happened in the US as well as throughout Europe, these common interest groups re-introduced the instrument to each other. Though the traveling minstrel has by and large been replaced by the devoted enthusiast, nonetheless the hurdy-gurdy has again traveled from one tradition to another, now a common instrument among folk musicians world-wide. It has generally lost it’s reputation as a lower class instrument, as interest in folk music has gained in reputation among all different social classes as well as within academia.
At this point in time, the amount of different forms, names, and the range in use the instrument has achieved is staggering for such a generally unknown instrument. Below are a few modern musicians who use the instrument and a list of the different names for the hurdy-gurdy that exist at this point in time.
A List of names for the hurdy-gurdy:
Dutch:
Draailier
English:
Beggar’s lyre
Crank lyre
Cymphan
Hurdy-gurdy ]
Organistrum
Symphonia
Wheel fiddle
Finnish:
Kampiliira
French:
Chifonie
Vielle
Vielle à roue
German:
Bauernleier
Bettlerleier
Drehleier
Radleier
Hungarian:
Forgolant
Nyenyere
Tekerőlant
Italy:
Ghironda
Lira mendicorum
Lira organizzara
Lira pagana
Lira tedesca
Lira rustica
Lira tedesca
Stampella
Viola da orbo
Latvian:
Rata lira
Norway:
Fon
Synfony
Polish:
Lira korbowa
Slovakian:
Kolovratec
Ninera
Spanish:
Sanfona
Viola de rueda
Zanfona
Swedish:
Lira
Nykelharpa
Vevlira
Ukrainian:
Lira/ліра
Relia
Below are a few different videos of modern hurdy-gurdy enthusiasts.
Hurdy-gurdy enthusiast/expert from NYC. The contrast of ancient instrument and modern subway make for an interesting an effective mix of human ways of life.
A busker on the streets of Budapest.
An Irish Jig played on the hurdy-gurdy.
Use of the hurdy-gurdy decreased greatly world-wide, culminating around the beginning of the 20th century when industrialization and modernization became driving social and economic forces in the Western World. Though extremes, like the persecution of the Russian Lirnyk, existed, at large the decline of this instrument was a quite one. It’s being replaced with other instruments, a general decline in the popularity and acceptance of street musicians over all, and the advent of new forms of music all contributed to the decrease of hurdy-gurdy use. It’s decline can be likened to a similar instrument, the bag-pipe, though the bag pipes continued popularity in places like Scotland make it a more commonly known instrument even the hurdy-gurdy.
However, a cross continent revival of folk music and art that began around the 1960’s has brought the instrument back into use. As mentioned, Donovan unwittingly aided this by naming his album “the hurdy-gurdy man“. As revivals happened in the US as well as throughout Europe, these common interest groups re-introduced the instrument to each other. Though the traveling minstrel has by and large been replaced by the devoted enthusiast, nonetheless the hurdy-gurdy has again traveled from one tradition to another, now a common instrument among folk musicians world-wide. It has generally lost it’s reputation as a lower class instrument, as interest in folk music has gained in reputation among all different social classes as well as within academia.
At this point in time, the amount of different forms, names, and the range in use the instrument has achieved is staggering for such a generally unknown instrument. Below are a few modern musicians who use the instrument and a list of the different names for the hurdy-gurdy that exist at this point in time.
A List of names for the hurdy-gurdy:
Dutch:
Draailier
English:
Beggar’s lyre
Crank lyre
Cymphan
Hurdy-gurdy ]
Organistrum
Symphonia
Wheel fiddle
Finnish:
Kampiliira
French:
Chifonie
Vielle
Vielle à roue
German:
Bauernleier
Bettlerleier
Drehleier
Radleier
Hungarian:
Forgolant
Nyenyere
Tekerőlant
Italy:
Ghironda
Lira mendicorum
Lira organizzara
Lira pagana
Lira tedesca
Lira rustica
Lira tedesca
Stampella
Viola da orbo
Latvian:
Rata lira
Norway:
Fon
Synfony
Polish:
Lira korbowa
Slovakian:
Kolovratec
Ninera
Spanish:
Sanfona
Viola de rueda
Zanfona
Swedish:
Lira
Nykelharpa
Vevlira
Ukrainian:
Lira/ліра
Relia
Below are a few different videos of modern hurdy-gurdy enthusiasts.
Hurdy-gurdy enthusiast/expert from NYC. The contrast of ancient instrument and modern subway make for an interesting an effective mix of human ways of life.
A busker on the streets of Budapest.
An Irish Jig played on the hurdy-gurdy.
Friday, December 10, 2010
The Hurdy Gurdy in Eastern Europe and Russia
In Hungary the instrument proved especially adaptive to the folk tradition, which has gone through few changes over the past thousand years in terms of structure, scale, and tempo. Since the instrument had by this time shrank to the size we know today, the original models difficulty with faster tempo’s was not an issue here. Traditions in Hungary have roots in China and the Danube, where through acculturation the traditions of these peoples had influence on each other. Kodaly and Bartok, two experts on Hungarian folk tradition, “revealed two distinct types of folk tunes: the "ancient strata" or old style and the "new style" which evolved from this during the last two centuries.
The main characteristics of the "ancient strata" are:
(a) The pentatonic scale: only five tones are used instead of the seven known in western music. The second and sixth tones ("a" and "e") are missing, though they may appear in the form of unaccented, passing notes in ornamentation.
(b) The melody is repeated a fifth lower later in the song. This is called the "fifth construction" and it usually occurs in a "descending structure."
(c) The rhythm is ‘parlando" (recitativo) or "rubato" (free) to suit the singers’ mood and the occasion. Quicker ("giusto") tempo is used with dance melodies and group singing. The slower rhythms accept all forms of ornamentation, as well as decorative, individual variations.
d) The song-structure usually consists of four lines of equal length, the second of which may carry the repeated melody five tones lower.”(http://www.hungarian-history.hu/lib/timeless/chapter03.htm) Again, the instrument was often an accompaniment to vocal music in this region.
In the Ukraine, the hurdy-gurdy became the trademark instrument of a group of people known as “Lirnyky”, blind or otherwise handicapped minstrels who though existing throughout Europe as well achieved great popularity among Ukrainian peasantry. This name is derived from the Ukrainian version of the hurdy-gurdy, the lira. In many regions of the Ukraine during the mid 19th to early 20th century, Lirnyky formed the majority of minstrels. Young children whose blindness prevented them from participating in normal ways of life were often apprenticed to a master minstrel. Here the child lived for around six years, learning the hurdy-gurdy, how to cope with blindness, and even “a secret language (lebiiska mova) that minstrels used to communicate among themselves.”(http://www.artukraine.com/postcards/kobzpost1.htm) Depending on the income of the family, the apprenticeship was paid for in monthly payments, or provided in the form of begging, which the child would do and turn over the funds he gathered in payment. Once the apprenticeship was over, the Lirnyk would return home, usually hiring a boy or girl as a guide, and begin his life as a traveling minstrel. These minstrels also played many religious tunes and epics of the region, making them walking cultural libraries of the areas myth’s, religious practices, and traditions.
Today, the songs of these blind minstrels are still played, though the presence of true Lirnyky no longer exists. This is partly due to modernization and partly due to a sad and final period of the Linyk, when they were persecuted by Joseph Stalin. Stalin’s fervent efforts to modernize Russia through violent social control clashed with the traditional nature of these street musicians and there assistance in the maintaining and spreading of Ukrainian world views and tradition. This culminated when nearly 300 Lirnyky were summoned or rounded up for an ethnographic conference, where these minstrels were then all executed. Though unpopular to Russian authority before, this event seems to have effectively eradicated the practice of blind minstrels, though much of the music and the instrument itself remain and in popularity to this day.
The Russian Lira, as was used by the Lirnyky.
The Hurdy Gurdy in England and Old Sarah.
As stated, following it’s indoctrination into the lower class in France, through fairly quick cultural transmission the hurdy-gurdy spread out through Europe and into Russia. Though the instrument did achieve some presence in England, it’s use was by no means as frequent in the country, though use of it’s name was applied to many other things. Most commonly, the name hurdy-gurdy was applied to the barrel organ in this nation, where this instrument was used among rural and street musicians. Similar tones created by this instrument and the hurdy-gurdy’s cross-cultural reputation as a street musicians instrument certainly influenced this use of the word. In some instances things not even related to music where known as hurdy-gurdy’s, including the a hand held sowing device.
The image shown below is a common illustration of what was known as a hurdy-gurdy in this region, again actually a barrel organ, which is played by a boy or older man accompanied by a small monkey with a tin cup (for donations). In more recent times, the artist Donovan used the term “hurdy-gurdy man” on his album of that title in the late 60‘s, another interpretation of the term used to describe a street musician who sings songs for his livelihood. Though not in reference to the actual instrument, the folk revival that Donovan helped begin would come to incorporate this instrument in part because of his use of the word, especially in the United States were the other uses of this word were not part of the cultural world view.
A picture of a "hurdy gurdy man", in this case a small boy, complete with little monkey and tin cup for donations.
The cover of Donovan's "The Hurdy Gurdy Man", which unintentionally contributed to the increase in use of the instrument.
Below is the story of a street musician known as Old Sarah, a blind women who played a hurdy-gurdy on the streets of England for nearly forty years in the late 18th and early 19th centuries. Blind people often took up busking as a profession as there was at the time little support for the condition, nor were there any social organizations or schools for the blind until later. We will learn more of the history of these blind musicians in a later post. The story of Old Sarah’s life, as recorded by her telling it, is provided below and offers a unique insight into the lives of these performers. Also, notice her use of the word “cymbal” instead of “hurdy-gurdy”, outside of this document I have been unable to find any other reference to the instrument by this name.
"I was born the 4th April, 1786 (it was Good Friday that year), at a small chandler's shop, facing the White Horse, Stuart's-rents, Drury-lane. Father was a hatter, and mother an artificial-flower maker and feather finisher. When I was but a day old, the nurse took me out of the warm bed and carried me to the window, to show some people how like I was to father. The cold flew to my eyes and I caught inflammation in them. Owing to mother being forced to be from home all day at her work, I was put out to dry-nurse when I was
three weeks old. My eyes were then very bad, by all accounts, and some neighbours told the woman I was with, that Turner's cerate would do them good. She got some and put it on my eyes, and when poor mother came to suckle me at her dinner-hour, my eyes was all 'a gore of blood.' From that time I never see afterwards. She did it, poor woman, for the best; it was no fault of her'n, and I'm sure I bears her no malice for it. I stayed at home with mother until I was thirteen, when I was put to the Blind-school, but I only kept there nine months; they turned me out because I was not clever with my hands, and I could not learn to spin or make sash-lines; my hands was ocker'd like. I had not been used at home to do anything for myself - not even to dress myself. Mother was always out at her work, so she could not learn me, and no one else would, so that's how it was I was turned out. I then went hack to my mother, and kept with her till her death. I well remember that; I heard her last. When she died I was just sixteen year old. I was sent to the Union - 'Pancridge' Union it was - and father with me (for he was ill at the time). He died too, and left me, in seven weeks after mother. When they was both gone, I felt I had lost my only friends, and that I was all alone in the world and blind. But, take it altogether, the world has been very good to me, and I have much to thank God for and the good woman I am with. I missed mother the most, she was so kind to me; there was no one like her; no, not even father. I was kept in the Union until I was twenty; the parish paid for my learning the 'cymbal:' God bless them for it, I say. A poor woman in the workhouse first asked me to learn music; she said it would always be a bit of bread for me; I did as she told me, and I thank her to this day for it. It took me just five months to learn the - cymbal, if you please - the hurdy-gurdy ain't it's right name. The first tune I ever played was 'God save the King,' the Queen as is now; then 'Harlequin Hamlet,' that took me a long time to get off; it was three weeks before they put me on a new one.
I then learnt 'Moll Brook;' then I did the 'Turnpike-gate' and 'Patrick's day in the morning:' all of them I learnt in the Union. I got a poor man to teach me the 'New-rigged ship' I soon learnt it, because it was an easy tune. Two-and-forty years ago I played 'The Gal I left behind me.' A woman learnt it me; she played my cymbal and I listened, and so got it. 'Oh, Susannah!' I learnt myself by hearing it on the horgan. I always try and listen to a new tune when I am in the street, and get it off if I can: it's my bread. I waited to hear one to-day, quite a new one, but I didn't like it, so I went on. 'Hasten to the Wedding' is my favourite; I played it years
ago, and play it still. I like 'Where have you been all the night?' it's a Scotch tune. The woman as persuaded me to learn the cymbal took me out of the Union with her; I lived with her, and she led me about the streets. When she died I took her daughter for my guide. She walked with me for more than five-and-twenty year, and she might have been with me to this day, but she took to drinking and killed herself with it. She behaved very bad to me at last, for as soon as we got a few halfpence she used to go into the public and
spend it all; and many a time I'm sure she's been too tipsy to take me home. One night I remember she rolled into the road at Ken-sington, and as near pulled me with her. We was both locked up in the station-house, for she couldn't stand for liquor, and I was obligated to wait till she could lead me home. It was very cruel of her to treat me so, but, poor creature, she's gone, and I forgive her I'm sure. I'd many-guides arter her, but none of them was honest like Liza is: I don't think she'd rob me of a farden. Would you, Liza?
Yes, I've my reg'lar rounds, and I've I've kept to 'em for near upon fifty year. All the children like to hear me coming along, for I always plays my cymbal as I goes. At Kentish-town they calls me Mrs. Tuesday, and at Kensington I'm Mrs. Friday, and so on. At some places they likes polkas, but at one house I plays at in Kensington they always ask me for 'Haste to the Wedding.' No, the cymbal isn't very hard to play; the only thing is, you must be very particular that the works is covered up, or the halfpence is apt to drop in. King David, they say, played on one of those here instruments. We're very tired by night-time; ain't we, Liza? but when I gets home the good woman I lodges with has always a bit of something for me to eat with my cup of tea. She's a good soul, and keeps me tidy and clean. I helps her all I can; when I come in, I carries her a pail of water up-stairs, and such-like, Many ladies as has known me since they was children allows me a trifle. One maiden lady near Brunswick-square has given me sixpence a week for many a year, and another allows
me eighteenpence a fortnight; so that, one way and another, I am very comfortable, and I've much to be thankful for." (http://www.altongate.co.uk/oldsarah/)
An illustration of Old Sarah.
The image shown below is a common illustration of what was known as a hurdy-gurdy in this region, again actually a barrel organ, which is played by a boy or older man accompanied by a small monkey with a tin cup (for donations). In more recent times, the artist Donovan used the term “hurdy-gurdy man” on his album of that title in the late 60‘s, another interpretation of the term used to describe a street musician who sings songs for his livelihood. Though not in reference to the actual instrument, the folk revival that Donovan helped begin would come to incorporate this instrument in part because of his use of the word, especially in the United States were the other uses of this word were not part of the cultural world view.
The cover of Donovan's "The Hurdy Gurdy Man", which unintentionally contributed to the increase in use of the instrument.
Below is the story of a street musician known as Old Sarah, a blind women who played a hurdy-gurdy on the streets of England for nearly forty years in the late 18th and early 19th centuries. Blind people often took up busking as a profession as there was at the time little support for the condition, nor were there any social organizations or schools for the blind until later. We will learn more of the history of these blind musicians in a later post. The story of Old Sarah’s life, as recorded by her telling it, is provided below and offers a unique insight into the lives of these performers. Also, notice her use of the word “cymbal” instead of “hurdy-gurdy”, outside of this document I have been unable to find any other reference to the instrument by this name.
"I was born the 4th April, 1786 (it was Good Friday that year), at a small chandler's shop, facing the White Horse, Stuart's-rents, Drury-lane. Father was a hatter, and mother an artificial-flower maker and feather finisher. When I was but a day old, the nurse took me out of the warm bed and carried me to the window, to show some people how like I was to father. The cold flew to my eyes and I caught inflammation in them. Owing to mother being forced to be from home all day at her work, I was put out to dry-nurse when I was
three weeks old. My eyes were then very bad, by all accounts, and some neighbours told the woman I was with, that Turner's cerate would do them good. She got some and put it on my eyes, and when poor mother came to suckle me at her dinner-hour, my eyes was all 'a gore of blood.' From that time I never see afterwards. She did it, poor woman, for the best; it was no fault of her'n, and I'm sure I bears her no malice for it. I stayed at home with mother until I was thirteen, when I was put to the Blind-school, but I only kept there nine months; they turned me out because I was not clever with my hands, and I could not learn to spin or make sash-lines; my hands was ocker'd like. I had not been used at home to do anything for myself - not even to dress myself. Mother was always out at her work, so she could not learn me, and no one else would, so that's how it was I was turned out. I then went hack to my mother, and kept with her till her death. I well remember that; I heard her last. When she died I was just sixteen year old. I was sent to the Union - 'Pancridge' Union it was - and father with me (for he was ill at the time). He died too, and left me, in seven weeks after mother. When they was both gone, I felt I had lost my only friends, and that I was all alone in the world and blind. But, take it altogether, the world has been very good to me, and I have much to thank God for and the good woman I am with. I missed mother the most, she was so kind to me; there was no one like her; no, not even father. I was kept in the Union until I was twenty; the parish paid for my learning the 'cymbal:' God bless them for it, I say. A poor woman in the workhouse first asked me to learn music; she said it would always be a bit of bread for me; I did as she told me, and I thank her to this day for it. It took me just five months to learn the - cymbal, if you please - the hurdy-gurdy ain't it's right name. The first tune I ever played was 'God save the King,' the Queen as is now; then 'Harlequin Hamlet,' that took me a long time to get off; it was three weeks before they put me on a new one.
I then learnt 'Moll Brook;' then I did the 'Turnpike-gate' and 'Patrick's day in the morning:' all of them I learnt in the Union. I got a poor man to teach me the 'New-rigged ship' I soon learnt it, because it was an easy tune. Two-and-forty years ago I played 'The Gal I left behind me.' A woman learnt it me; she played my cymbal and I listened, and so got it. 'Oh, Susannah!' I learnt myself by hearing it on the horgan. I always try and listen to a new tune when I am in the street, and get it off if I can: it's my bread. I waited to hear one to-day, quite a new one, but I didn't like it, so I went on. 'Hasten to the Wedding' is my favourite; I played it years
ago, and play it still. I like 'Where have you been all the night?' it's a Scotch tune. The woman as persuaded me to learn the cymbal took me out of the Union with her; I lived with her, and she led me about the streets. When she died I took her daughter for my guide. She walked with me for more than five-and-twenty year, and she might have been with me to this day, but she took to drinking and killed herself with it. She behaved very bad to me at last, for as soon as we got a few halfpence she used to go into the public and
spend it all; and many a time I'm sure she's been too tipsy to take me home. One night I remember she rolled into the road at Ken-sington, and as near pulled me with her. We was both locked up in the station-house, for she couldn't stand for liquor, and I was obligated to wait till she could lead me home. It was very cruel of her to treat me so, but, poor creature, she's gone, and I forgive her I'm sure. I'd many-guides arter her, but none of them was honest like Liza is: I don't think she'd rob me of a farden. Would you, Liza?
Yes, I've my reg'lar rounds, and I've I've kept to 'em for near upon fifty year. All the children like to hear me coming along, for I always plays my cymbal as I goes. At Kentish-town they calls me Mrs. Tuesday, and at Kensington I'm Mrs. Friday, and so on. At some places they likes polkas, but at one house I plays at in Kensington they always ask me for 'Haste to the Wedding.' No, the cymbal isn't very hard to play; the only thing is, you must be very particular that the works is covered up, or the halfpence is apt to drop in. King David, they say, played on one of those here instruments. We're very tired by night-time; ain't we, Liza? but when I gets home the good woman I lodges with has always a bit of something for me to eat with my cup of tea. She's a good soul, and keeps me tidy and clean. I helps her all I can; when I come in, I carries her a pail of water up-stairs, and such-like, Many ladies as has known me since they was children allows me a trifle. One maiden lady near Brunswick-square has given me sixpence a week for many a year, and another allows
me eighteenpence a fortnight; so that, one way and another, I am very comfortable, and I've much to be thankful for." (http://www.altongate.co.uk/oldsarah/)
Thursday, December 9, 2010
Hurdy Gurdy Girls.
During the 19th century , usage of the hurdy-gurdy took a turn towards the sinister in Germany(then a principality in the state of Hessen), beginning in the early 1800’s. Much of the rural population at this time face sever poverty, in part due to an increase in population that had led to greater division in farm land due to inheritance. This problem escalated until using viable farmland became nearly impossible. (http://www.hotpipes.com/hggirls2.html) Around the 1820’s, farmers began crafting various items, such as fly whisks and brooms. These were later sold during the summer. This trade expanded out through Europe and also into Russia, were poverty had increased, causing transformation in industry and ways of life throughout. Eventually someone realized that having a pretty girl playing a hurdy-gurdy as entertainment increased the sales of the peddler who used them. Over time, the presence of this girls, eventually to be known as hurdy-gurdy girls, became more and more important to this trade, until finally it was realized that more money could be made off of their exploitation then off of the brooms and other crafted wares.
This attracted German “soul merchants”, who put these young girl under contracts, often under the approval of their families who were given high promises of wealth and esteem resulting from their daughters newfound careers. These women traveled far and wide, even being documented as performing in gold-rush California (were they were known as Rhinelanders do to their place of birth), Cuba, and Australia. (http://itotd.com/articles/315/the-hurdy-gurdy/) Unfortunately these girls were largely preyed upon by their new bosses, some being forced to enter into prostitution or simply not profiting personally off of their own work as musicians. Few returned home having profited off of this way of life, but far more returned sick, malnourished and penniless.
These practices soon took the attention of the church, whose own values were of course greatly opposed to this. Humanism would ultimately triumph, beginning in 1848 when Pastor Schallenger drew up a petition to the government to end what he called “sale of souls into foreign lands.” Though this petition was unanswered, later resistance from the church, including a novel called “Hurdy Gurdy” that aided in bringing attention to the problem among the general public. In 1865, the government prohibited the use of girls in this trade, which along with the growing awareness and disapproval of the public put an end to this sad leg of the hurdy-gurdy’s history.
Also worthy of note in the anthropological spectrum is that it was this chapter in the instruments history that led to many of the other uses of the word “hurdy-gurdy”, including the term “hurdy-gurdy house”, a term for a cheap dance hall in North America that cropped up at the same time were barrel-organs where typically installed. (http://www.idahostatesman.com/2010/07/11/1263168/hurdy-gurdy-girls-on-frontier.html) This also certainly aided the confusion of the term “hurdy-gurdy”, which among many English speaking nations also means a barrel organ or something similar to it.
(Taken from http://www.exulanten.com/hurdy.html)
A few images of the hurdy-gurdy girls, note the bottom image is obviously of a child.
This attracted German “soul merchants”, who put these young girl under contracts, often under the approval of their families who were given high promises of wealth and esteem resulting from their daughters newfound careers. These women traveled far and wide, even being documented as performing in gold-rush California (were they were known as Rhinelanders do to their place of birth), Cuba, and Australia. (http://itotd.com/articles/315/the-hurdy-gurdy/) Unfortunately these girls were largely preyed upon by their new bosses, some being forced to enter into prostitution or simply not profiting personally off of their own work as musicians. Few returned home having profited off of this way of life, but far more returned sick, malnourished and penniless.
These practices soon took the attention of the church, whose own values were of course greatly opposed to this. Humanism would ultimately triumph, beginning in 1848 when Pastor Schallenger drew up a petition to the government to end what he called “sale of souls into foreign lands.” Though this petition was unanswered, later resistance from the church, including a novel called “Hurdy Gurdy” that aided in bringing attention to the problem among the general public. In 1865, the government prohibited the use of girls in this trade, which along with the growing awareness and disapproval of the public put an end to this sad leg of the hurdy-gurdy’s history.
Also worthy of note in the anthropological spectrum is that it was this chapter in the instruments history that led to many of the other uses of the word “hurdy-gurdy”, including the term “hurdy-gurdy house”, a term for a cheap dance hall in North America that cropped up at the same time were barrel-organs where typically installed. (http://www.idahostatesman.com/2010/07/11/1263168/hurdy-gurdy-girls-on-frontier.html) This also certainly aided the confusion of the term “hurdy-gurdy”, which among many English speaking nations also means a barrel organ or something similar to it.
The following is a song written by W. Sawney in North America entitled "Bonnie Are The Hurdies 0!"
There's naught but care on ilka han',
On every hour that passes, O!
An' Sawney, man, we hae nae chance
To spark amang the lasses, O!
Bonnie are the hurdies, O!
The German hurdy-gurdies, O!
The daftest hour that ere I spent,
Was dancin' wi' the hurdies, O!
A warldly race that riches chase,
Yet a' gangs tapselteerie, O!
An' every hour we spend at e'en,
Is spent without a dearie, O!
Last summer we had lassies here
Frae Germany-the hurdies, O!
And troth I wot, as I'm a Scot,
They were the bonnie hurdies, O!
There was Kate and Mary, blithe and airy,
And dumpy little Lizzie, O!
And ane they ca'd the Kangaroo,
A strappin' rattlin' hizzy, O!
They danced at night in dresses light,
Frae late until the early, O!
But oh! their hearts were hard as flint,
Which vexed the laddies sairly, O!
The dollar was their only love,
And that they lo'ed fu' dearly, O!
They dinna care a flea for men,
Let them coort hooe'er sincerely, O!
They left the creek wi' lots o' gold,
Danced frae oor lads sae clever, O!
My blessin's on their 'sour kraut' heads,
Gif they stay awa for ever, O
There's naught but care on ilka han',
On every hour that passes, O!
An' Sawney, man, we hae nae chance
To spark amang the lasses, O!
Bonnie are the hurdies, O!
The German hurdy-gurdies, O!
The daftest hour that ere I spent,
Was dancin' wi' the hurdies, O!
A warldly race that riches chase,
Yet a' gangs tapselteerie, O!
An' every hour we spend at e'en,
Is spent without a dearie, O!
Last summer we had lassies here
Frae Germany-the hurdies, O!
And troth I wot, as I'm a Scot,
They were the bonnie hurdies, O!
There was Kate and Mary, blithe and airy,
And dumpy little Lizzie, O!
And ane they ca'd the Kangaroo,
A strappin' rattlin' hizzy, O!
They danced at night in dresses light,
Frae late until the early, O!
But oh! their hearts were hard as flint,
Which vexed the laddies sairly, O!
The dollar was their only love,
And that they lo'ed fu' dearly, O!
They dinna care a flea for men,
Let them coort hooe'er sincerely, O!
They left the creek wi' lots o' gold,
Danced frae oor lads sae clever, O!
My blessin's on their 'sour kraut' heads,
Gif they stay awa for ever, O
(Taken from http://www.exulanten.com/hurdy.html)
The French Revival of the Hurdy Gurdy.
The hurdy-gurdy, as stated in previous posts, fell in and out of grace among the upper class throughout Europe, experiencing revivals as it made it‘s trek easy across Europe. One such revival was in France, where the instrument was known as the vielle a roue, beginning the reign of Louis XIV.(1660 - 1715) Louis XIV greatly enjoyed various rural traditions, one of them being the music from these regions. “ Gradually, courtly diversions about the Arcadian idea of rural bliss gained favor at court. Shepherds and milkmaids were portrayed passing away pleasant hours together.” (http://www.hurdygurdy.org/pdfs/hghistory.PDF) Because of this growth in interest, especially in the court, the music of the hurdy-gurdy again gained in popularity. It became common for aristocrats to be proficient in the hurdy-gurdy and other instruments used in street music and in rural communities, who had adopted the instruments themselves due to ease of use and their use as accompaniment to vocal music. Many composers of the time, including Mozart, were known to use the hurdy-gurdy in some of their works.
This revival continued, again magnified by the written works of Jean Jacque Rousseau, whose written works stressed the values of moral simplicity in rural life versus the corruption and decadence of the court. Finding it’s way back up the social ladder, luthier’s began to make “elegant instruments with fancy inlay and carving. The mechanism was built into guitar and lute bodies, giving the instrument a better tone. Many fine instruments were manufactured during this period.” (http://www.hurdygurdy.org/pdfs/hghistory.PDF)
The revival gained in popularity through the reign of Louis XV, which ended in 1778. The following king, Louis XVI, did not much involve himself in courtly social life, and following him Marie Antoinette changed the taste of the court to the neo-classical. This again made use of the hurdy-gurdy impractical, though it’s use in the court did not completely vanish until the French Revolution. After this the instrument became exclusive again to street musicians and folk dances, which gained in popularity but use of the diatonic organ again clashed with the hurdy-gurdy. Despite this it’s popularity has never completely ceased in the region and it is still used in french rural and folk music today.
The following two videos are modern interpretations of the French music discussed this post as played on the hurdy-gurdy.
This revival continued, again magnified by the written works of Jean Jacque Rousseau, whose written works stressed the values of moral simplicity in rural life versus the corruption and decadence of the court. Finding it’s way back up the social ladder, luthier’s began to make “elegant instruments with fancy inlay and carving. The mechanism was built into guitar and lute bodies, giving the instrument a better tone. Many fine instruments were manufactured during this period.” (http://www.hurdygurdy.org/pdfs/hghistory.PDF)
The revival gained in popularity through the reign of Louis XV, which ended in 1778. The following king, Louis XVI, did not much involve himself in courtly social life, and following him Marie Antoinette changed the taste of the court to the neo-classical. This again made use of the hurdy-gurdy impractical, though it’s use in the court did not completely vanish until the French Revolution. After this the instrument became exclusive again to street musicians and folk dances, which gained in popularity but use of the diatonic organ again clashed with the hurdy-gurdy. Despite this it’s popularity has never completely ceased in the region and it is still used in french rural and folk music today.
The following two videos are modern interpretations of the French music discussed this post as played on the hurdy-gurdy.
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