- Title Pages
- ACKNOWLEDGEMENTS
- Abbreviations
- Chronological list of contents
- Introduction
- Chapter 36 Preface [to a Folk Song Collection]
- Chapter 37 Introduction to <i>Folk Songs from the Eastern Counties</i>
- Chapter 38 English Folk-Songs
- Chapter 39 Folk-Song in Chamber Music
- Chapter 40 Dance Tunes
- Chapter 41 Sailor Shanties
- Chapter 42 How to Sing a Folk-Song
- Chapter 43 The Late Mr Frank Kidson
- Chapter 44 Lucy Broadwood: An Appreciation
- Chapter 45 Ella Mary Leather
- Chapter 46 Folk-Song
- Chapter 47 Cecil Sharp’s Accompaniments
- Chapter 48 Arthur Somervell
- Chapter 49 Cecil James Sharp (1859–1924)
- Chapter 50 Traditional Arts in the Twentieth Century
- Chapter 51 The Justification of Folk Song
- Chapter 52 Let Us Remember…Early Days
- Chapter 53 Preface [Celebrating the Foundation of the Folk Song Society]
- Chapter 54 Lucy Broadwood, 1858–1929
- Chapter 55 Appeal on Behalf of the English Folk Dance and Song Society
- Chapter 56 Preface to <i>Index of English Songs</i>
- Chapter 57 Address to the Fifth Conference of the International Folk Music Council
- Chapter 58 Cecil Sharp: An Appreciation
- Chapter 59 Preface to <i>International Catalogue of Recorded Folk Music</i>
- Chapter 60 Martin Shaw
- Chapter 61 Preface to <i>Folksong—Plainsong</i>
- Chapter 62 The Diamond Jubilee of the Folk Song Society
- Chapter 63 The English Folk Dance and Song Society
- Chapter 64 Introduction to <i>Classic English Folk Songs</i>
- Select Bibliography of Folk Song Collections
- Index
Sailor Shanties
Sailor Shanties
- Chapter:
- (p.215) Chapter 41 Sailor Shanties
- Source:
- Vaughan Williams on Music
- Author(s):
David Manning
- Publisher:
- Oxford University Press
The art of the folk singer, like all true art, is essentially un-self-conscious—the artistic result is not openly sought, but comes, as it were, by accident. In the same way the sailor, with the object of improving the quality of his work, has invented the “shanty,” and it is these that Dr Richard Runciman Terry now has collected into a book. Modern developments in machinery have destroyed the original purpose of the shanty, but like the tithe barn, the church, and the castle, they remain for the people as works of art, and it is as works of art, and that only, that one must now judge them. If they are merely of nautical or antiquarian interest, then their proper place is the library of the folklorist or the marine expert.
Keywords: folk singer, sailor, shanty, Richard Runciman Terry, works of art
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- Title Pages
- ACKNOWLEDGEMENTS
- Abbreviations
- Chronological list of contents
- Introduction
- Chapter 36 Preface [to a Folk Song Collection]
- Chapter 37 Introduction to <i>Folk Songs from the Eastern Counties</i>
- Chapter 38 English Folk-Songs
- Chapter 39 Folk-Song in Chamber Music
- Chapter 40 Dance Tunes
- Chapter 41 Sailor Shanties
- Chapter 42 How to Sing a Folk-Song
- Chapter 43 The Late Mr Frank Kidson
- Chapter 44 Lucy Broadwood: An Appreciation
- Chapter 45 Ella Mary Leather
- Chapter 46 Folk-Song
- Chapter 47 Cecil Sharp’s Accompaniments
- Chapter 48 Arthur Somervell
- Chapter 49 Cecil James Sharp (1859–1924)
- Chapter 50 Traditional Arts in the Twentieth Century
- Chapter 51 The Justification of Folk Song
- Chapter 52 Let Us Remember…Early Days
- Chapter 53 Preface [Celebrating the Foundation of the Folk Song Society]
- Chapter 54 Lucy Broadwood, 1858–1929
- Chapter 55 Appeal on Behalf of the English Folk Dance and Song Society
- Chapter 56 Preface to <i>Index of English Songs</i>
- Chapter 57 Address to the Fifth Conference of the International Folk Music Council
- Chapter 58 Cecil Sharp: An Appreciation
- Chapter 59 Preface to <i>International Catalogue of Recorded Folk Music</i>
- Chapter 60 Martin Shaw
- Chapter 61 Preface to <i>Folksong—Plainsong</i>
- Chapter 62 The Diamond Jubilee of the Folk Song Society
- Chapter 63 The English Folk Dance and Song Society
- Chapter 64 Introduction to <i>Classic English Folk Songs</i>
- Select Bibliography of Folk Song Collections
- Index