Folk-Hymns
The ballads (excepting the experience variety) probably did not originate in any particular organized religious movement. The folk-hymns were, on the other hand, bound up genetically with the protestant evangelical activity which followed John Wesley’s lead in England and then in America. The Wesleyan Revival began as an ordered small-group affair and spread and developed ultimately into a movement whose aspects and practices were completely free-affairs of the uninhibited masses. In the same way the song of that movement, beginning with merely the taste of textual freedom offered by Watts and the Wesleys, and of musical freedom offered by those who furnished the melodies, spread ultimately far beyond the “allowed” tunes and hymn texts of the authorities until religious gatherings were musically completely liberated.
When John Wesley picked up a popular melody here and there on his travels through England and set it to a good hymn text, he little realized that he was setting an example and starting a movement which was to bring into existence hundreds of folk-hymns; that is, songs with old folk-tunes which everybody could sing and with words that spoke from the heart of the devout in the language of the common man.
With the spread of this movement to America a fertile soil for its further development seems to have been found. Here it became known as the Great Southern and Western Revival. Here its store of songs, made after the pattern used in England, was greatly enlarged. In fact the masses took the matter of what they were to sing so completely into their own hands that the denominational authorities, especially the Methodists, though they tried to control it, became helpless.[2]
In looking through the folk-hymns in the second part of this collection one will see scores of tunes which are clearly recognizable as those still sung to ‘Barbara Allen’, ‘Lord Lovel’ and other ancient ballads. This is adequate evidence, I assume, as to where the folk sought and found its hymn tunes. The extent of this tune borrowing process is indicated on [page 18]f of this Introduction. The texts, on the other hand, may be from the pen of Watts or other eighteenth century English religious poets, or they may be the humbler creations of rural American religious verse makers, like John Adam Granade, or John Leland.
It is impossible to date the beginning of folk-hymn making and singing in America definitely. But on the assumption that they were a part of the Wesleyan movement, we cannot place the beginning of their general use in America before the 1770’s. The part of the land where they first attained popularity—again judging by their Wesleyan affinities—was the upland and inland South; for during the last two decades of the eighteenth century (the time of the first spread of the Methodist movement) four-fifths of the adherents to this sect were to be found in that section.[3]