I have come to Mudcat rather late, and would like to chuck in an oar or two.
On the subject of "fitting the text to the tune" (or vice versa)it is documented by William Motherwell (Child's "favourite" ballad collector, second only to Percy in quantity) that singers would alter either. He notes that singers would change the sound and the stress of words to emphasise a rhyme, or simply to fit the tune. In part, this is how we get spellings in written-down ballads of words such as "hie" for "high". They actually changed the pronunciation. In a similar vein, Motherwell records how the tune would change from verse to verse. I'm sure it wouldn't break into a rock or tango timing, but something subtler and closer to what pipers cal the urlar, or "ground" tune.
On the subject of tunes: Motherwells collection needs to be treated with some care. There seems to be no doubt about their authenticity or their accuracy (the notations were carried out by two accredited musicians, Robert A. Smith and Andrew Blaikie), but no-where are you told which text goes with the tune.
On the issue of "The first Ballad" - mine was at school, in the mid 1950s, when we got Barbara Allan (whether we like it or not - I loved it). However, having been drawn to folk music in the early 60s, I set myself a challenge - Captain Wedderburns Courtship.
And lastly - for Jack Campin - The Baron of Brackley is a very strident and stiking tune, BUT, gavin Greig doubted it's authenticity (it came from Dean Christie).
Is that important? - discuss!

---

Please note that anonymous posting is no longer allowed at Mudcat. Use a consistent name [in the 'from' box] when you post, or your messages risk being deleted.
Thanks.
-Joe Offer-