Angelus ad virginem was a popular medieval and renaissance song, appearing in six manuscripts from the late 13th to mid 16th century in England, France and Ireland, with Latin words – Angelus ad virginem – and English words – Gabriel fram evene king. In each source, the melody is recognisably similar but different in detail, indicating a constant reworking of the musical material. This is also the central feature of traditional or folk music. Via Geoffrey Chaucer, Barbara Allen and the troubadours, this article traces the history of the variant versions of Angelus / Gabriel, arguing for the familial relationship between early music and traditional music, beginning with a performance of Angelus on medieval harp.
The trees they do grow high is an originally Scottish ballad about an arranged child marriage, also known as The trees they grow so high, My bonny lad is young but he’s growing, Long a-Growing, Daily Growing, Still Growing, The Bonny Boy, and Lady Mary Ann. The song was very popular in the oral tradition in Scotland, England, Ireland, and the U.S.A. from the 18th to the 20th century. Questions about its true age (medieval?), the basis of its story (based on an actual marriage?) and its original author (Robert Burns?) have attracted conjectural claims. This article investigates the shifting narrative of the story over its lifetime and sifts the mere claims from the substantiated evidence.
The Lyke-Wake Dirge, with its dark, mysterious imagery and its brooding melody, is known to singers of traditional songs through its resurrection in the repertoire of folk trio The Young Tradition in the 1960s, and its subsequent recording by The Pentangle and others. What many of its performers may not realise is that its history can be reliably traced to Elizabethan Yorkshire, with a hint from Geoffrey Chaucer that its origins may be earlier. This article uses direct testimony from the 16th and 17th century to explore its meaning, its perilous and punishing “Whinny-moor”, “Brig o’ Dread”, and “Purgatory fire”; and discovers the surprising origin of its doleful dorian melody.
The origins of the guitar are much-discussed and much-disputed, and some pretty wild and unsubstantiated claims are made for its heritage, based on vaguely guitary-looking instruments in medieval and even pre-medieval iconography, about which we often know little or nothing beyond an indistinguishable drawing, painting or carving; or based on instruments which have guitary-sounding names. This article is an attempt to slice through the fog with a brief history of the instrument, charting its development from the renaissance, through the baroque to the modern day, based only on what can be claimed with certainty. Illustrated with pictures, sound recordings and beginning with a short video of guitar history.