Writing two centuries ago, Joseph Addison tells us in the character of Mr Spectator:—
“When I travelled I took a particular delight in hearing the songs and fables that are come down from father to son, and are most in vogue among the common people of the countries through which I passed; for it is impossible that anything should be universally tasted and approved of by a multitude, though they are only the rabble of the nation, which hath not in it some peculiar aptness to please and gratify the mind of man” (Spectator, No. 70). He further says:—
“An ordinary song or ballad, that is the delight of the common people, cannot fail to please all such readers as are not unqualified for the entertainment by their affectation or ignorance.”
It was not only the cultured Mr Addison who recognised the claims of the people’s songs as expressive of sentiments that were worthy the consideration of the more learned, for quotation upon quotation could be given of examples where the refined and learned have found in the primitive song that which appealed in the highest degree.
The moderns need no excuse for the study of folk-song, and few will regard the consideration of people’s-lore as an idle amusement.
The present essay is put forth with all diffidence as a very slight dissertation upon a complex subject, and it does not pretend to do more than enter into the fringe of it.
The younger of the present generation have seen the gradual speeding up of technique in composition and performance, but with this increased standard there has been a tendency to let fall certain very sacred and essential things that belong to musical art. In too many cases the composer has not quite justified the complexity of his composition; while glorying in the skill of his craftsmanship he has too frequently forgotten the primitive demand for art and beauty, apart from technical elaboration.
That type of simple melody that formerly pleased what we might regard as a less cultured age, holds no place in present-day composition or in the esteem of a certain class.
It is probable that this melodic starvation turned so many, who had not lost the feeling for simple tune, towards folk-music when this was dragged from obscurity and declared by competent musical judges to be worthy of consideration. Then people began to revel in its charm, and to feel that here was something that had been withheld from them, but which was good for their musical souls.
A simple air of eight or sixteen bars may not appear difficult to evolve, or even worth evolving at all, much less of record; but when the matter is further considered, we have to acknowledge that seemingly trivial melodies have wrought effects which have upset thrones and changed the fate of nations. Where they have not had this great political influence their histories show that they have rooted themselves deeply into the hearts of a people, and put into shade the finest compositions of great musicians. An undying vitality appears to be inherent in them, and this is shown by their general appeal throughout periods of thought and life totally unlike. Many examples prove this, and such an air as “[Greensleeves]” might be cited in this connexion.