Just to let you all know I passed Module 2 with a distinction. Now starting Module 3

Last week I attended the British Library’s open day for perspective and first year doctoral students. And a good day out it was too.

One session was taken by Janet Topp Fargion who was explaining how the British Library record fragile items from wax cylinders and 78 rpm records. In many cases, the first recording may be the only one or best that can be made.

Fargion suggested that the British Library record items at 24bit and 96 kHz sample rate using  .WAV format. The CD standard is 16bit and 44.1 kHz. Many portable handheld Digital Recorders  record at 16bit and 44.1 kHz or higher.

On the 11 November I spoke at the Folk Song Conference at Cecil Sharp House about the historical folk song collecting activities of Tony Wales in the Horsham area in the late 1950s. These recording were made on reel-reel tape recorders at either 9.5 or 19cm/s. At that time, the standard recording speed for broadcasting and other similar activities was 19cm/s or higher.

At the Folk Song Conference some speaker indicated that in pre-planned recording sessions they were recording at rates lower than 16bit and 44.1 kHz, some using mp3. Am I alone finding this a worrying trend? Recordings should be made at the highest level possible for later reproduction or broadcasting and for whatever new technologies may come in the future. Recordings must be made future proof.

One speaker went further and suggested that substituting videoing (or Digital Recording) was an answer as that showed the actual performance including sounds and visuals. I would suggest that the highest quality sound and visual rates must be recorded. Song collectors and others who capture performances (either sound, visual or both) must record at the highest possible rates. If necessary two or more machines must be used. As we all know, data storage units, such as portable hard drives are becoming cheaper. Just remember to back everything up to avoid loss!

On 11th November I presented at the Folk Song Conference held at Cecil Sharp House.

I spoke about the folk song recordings made by Tony Wales at the end of the 1950s and beginning of the 1960s. I acquired the recordings which were all recorded on reel-reel tape in the the 1990s, and part of the sales agreement was that I would make them available in the future, That I have done and they can be found on the Sussex Traditions website.  Look here: https://sussextraditions.org

I am satisfied with my presentation. I was within my 20 minute limit, I spoke clearly and at a good speed. There was a problem with some of the embedded sound files, they all finished about 10 seconds early.

Tony Wales wrote about Sussex and its traditions. He wrote for a public audience, which means that it does not necessarily have academic rigour. His writing often includes stories or comment without the evidence to back it up fully.

Tony was one of many collectors operating at that time in small localities such as Horsham where he lived. They were self-funding and often worked alone. Although their work may be flawed, we do owe them a huge debt: without them our knowledge, and in this case actual recordings of the singers would not have taken place and we would have been poorer for that.

It is about a month before I need to submit my essay.

I have been looking at the development of Country dance between about 1650 and 1900. Country dance includes the dances published by Playford, the longways dances that developed during the 1700s, quadrilles, waltz, polka and many others. I have found out many things. In particular I would like to draw your attention to three items.

Firstly, during this period dancers have started dancing closer together for longer period of time. Think about this for a minute. In longways sets that were common in the 1700s, partners stand in opposite lines from each other, maybe between 1.5 and 2m. However, once the waltz was fully developed by about 1840 and then the introduction polka, it was possible for partners to have contact for 100% of the time.

Secondly, the introduction of different musical meters stopped dancers becoming to board. Meters such as 9/8 allowed faster dances to take place. 9/8 was used in dances such as the Scotch Reel.

Thirdly, the introduction and development of so many different formations such as the longways, squares, couples, three and four people in a line allow dance figures to develop. In longways dance, the figures generally used two or three couples. Once the square formation had been introduced, the figure could be performed with 2, 3, or 4 couples. Much more variety.

One thing that has remained constant through this time is that this type of dance is social  Not only do you need a parter to dance with, you generally need to dance with other people also.

I have been researching areas for my essay on Historical dance and have narrowed it down to look at space requirements for the various dances that could have been danced at a ball in 1821. I am still working on it so don’t expect to read anything here about it, except that 3,000 words isn’t very long.

Here are two unrelated items that I have found that will be of interest:

The mechanical metronome was made widely available from 1817, and I have found three metronome markings in Quadrille publications, I haven;t found any in Country-dance publications. What I have found in Quadrille that the beats per minute (bpm) range from 88bpm to 120bpm. Dances in 6/8 time are generally played slightly faster the those in 2/4,and the average comes out at 100bpm. Many figures included in Quadrille dancing are very similar to those used in Country-dances at the time (turns, circles, leads etc.) and I suggest that Country-dances were probably performed at the same speed.

I have also looked at speed. James Cunningham writing about dancing at the Inns of Court suggests that in the 1630s dancing had slowed down and people were walking. In the 1820s, Thomas Wilson and others are moaning about people speeding up the dances, especially the waltz. They are romping about! This suggests to me that there is no set speed for Country or related dances. Do what you will!

For my next module I am researching historical country dance in England.

I will be considering what dances could have been performed if a Ball was held at the Royal Pavilion in 1821 to celebrate the Coronation of George 4. George first visited Brighton in 1783, brought and developed the Royal Pavilion into a Royal Palace and spent time in Brighton. In 1811 he became Prince Regent as George 3 became ill and became King after George 3s death in 1820.

This is an interesting time for dancing. In 1650, John Playford published the English Dancing Master and it contained over 100 dances in many different formations and in modern country dance language included: longways, circles, squares. By 1700, the Country dance consisted of only longways dances. By the late 1700s, Cotillions from Europe had been introduced (these were square dances for four couple/eight people which contained figures from the country dances, so only two couples performed them at any one time). Slightly later in the early 1800s, Quadrilles were introduced (again square dances for  four couples, but the figures were more involved and generally involved all couples at the same time). Underlining these dances were the longways dances. But then, in 1814, the Waltz was introduced. Unlike the other dances at the time, the Waltz allowed close contact with members of the opposite sex! Scandalous to say the least and not universally accepted!  Would the Waltz be danced at the Royal Pavilion in 1821? That’s one of the questions I will try and answer.

Keep looking in as I progress with my enquiries.