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Old 10-30-2012, 08:13 AM   #21
Sleepy__Head
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Quote:
Originally Posted by 20Tigers
Yeah i get what you're saying and it is quite interesting. It's interesting to see how songs evolve and change as they are handed from person to person and how they are reinterpreted and rewritten yet the essence of the song remains.


Yeah - the songs end up being like the paradox of the Trireme of Theseus: The song is still the same song and yet (nearly) every part of it differs from its original version. Tommy Potts (the chap I mentioned above) is particularly interesting in that result.

Here's The Drunken Sailor Hornpipe:
And here's Tommy Potts playing The Drunken Sailor Hornpipe:

They're the same, but not quite - the planks have been removed and new planks fitted, as it were.

And these two are very different musically and linguistically, although they both express the same concept - of the lass "letting the soldier in" (to the house out of the cold and, er, 'elsewhere') - in their respective dialects:

Martin Carthy - Cold Haily Windy Night
Jeannie Robertson - The Laird o' Windywa's - (only link I can find is on Spotify, sorry)
(notes on sources are here)

More on Jeannie Robertson here

The same thing occurs in many musical styles. There are figures in Jimmi Hendrix songs that get re-used by other artists - compare "1983 ... (A Merman I Should Turn To Be)" with Iron Maiden's with the lead guitar at the beginning of Iron Maiden's "Children Of The Damned". There are figures in classical music (notably, plainchant figures) that recur all over the place in classical music (the Dies Irae being one (cf. http://en.wikipedia.org/wiki/Dies_irae). I daresay (even though I know naff-all about Jazz) that there are figures in Jazz that keep cropping up elsewhere. Following the threads can be absolutely fascinating as one musician picks up the thread, adds their own twist to it, influences someone else who picks up the same tune and adds their twist to it (and so on).


Quote:
Originally Posted by 20Tigers
Looking at his influences it is also interesting having a look through "The Freewheelin' Bob Dylan" (his second album). In contrast to the first album in which there are only two originals The Freewheellin' Bob Dylan is mostly originals with only two covers. However those songs he did write often borrow heavily from traditional songs - either melody, some turn of phrase, or a lyrical concept that Dylan develops. It can be intesting to look at the original traditional songs Dylan was influenced by when writing his original songs for this album and comparing them to the Dylan originals.


Yeah, his 2nd album is where he shows his personal mettle and it's much more directly in line with the American folk tradition - what European folk influences are there are buried under layers of reinterpretation.
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Originally Posted by Hail
oh shut up with that /mu/ bullshit. fidget house shouldn't even be a genre, why in the world would it deserve its own subgenres you twat
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