The availability of more manuscripts on line combined with tunes and lyrics already there leads us to chart the course beyond simply finding the material.

Of course with all music it is important to work not just with archiving but with transmission and installation not just in libraries but within human minds and promoting active use of the material. This is accomplished by modifying performance style presentations into interactive ones. Get people song sheets and get them singing.

There is still substantial old school hatred which is keeping the music from being recorded, preserved and performed. This has eased quite a bit with the recognition that the material is simply folksong just like any other and that songs of solidarity can still be treasured as artworks and human achievements more than they are hated as political objects. In this regard it is important to make sure that in folk forums that the music is encouraged so that it can be preserved archived, stored on disk but also actively used.

In the area of orange music a few areas of interst come to mind.

-Historical accuracy- this has been coverd by John Moulden and others. The accuracy of many songs has been explored but probably more work to be done. Who were the people? Where were the battles? Are the songs correct. But further than that songs are not used as historical documents. They may refer to history but are actually works designed to develop solidarity, fit a rhyme scheme and are then literature only- perhaps fiction. However, history changes when these songs are taken as history over time adding to the perceived history, the received view of certain cultures and then are acted on. Therefore the distortions become as equally powerful and historical as the original historical events. So it is interesting to study the ripples caused by these works.

-Performance vs Oral tradition. What can be said of the songs that were held in common by significant numbers in the oral tradition? The ones that would appear at local, regional, and national gatherings of members of the cultural group. This will be a good number. Some will be known widely only locally.

Other songs will find their way into the performance category. Not every song in a songbook would be sung at gatherings in parlors or large venues by performers. Other songs would be of lesser importance. Why did the songs selected for performance get selected?

Another issue would be How were songbooks used? Were they used for personal use or for group use as hymnals? This would go beyond performance to a wider use of the songbook for groups to sing through.


It is often assumed too broadly that these songs were installed in the oral tradition or became popular. Many were simply marketed commercially.

To re state. No matter what we know of the materials it is important that the dimensions of preservation be covered if we are to know that our work is done. First the songs must be collected and archived found and stored. Second they must be available in recorded or published form Third they need to be performed in an active way not just for entertainment but in ways that will help those present sing along and capture the songs in their minds maybe take home song sheets for later use.

So the world of accessibility of the music begs us to go further till the bases are covered. Once the songs are out there they can inform new composition and can help to bring the benefits of song to the daily lives of others.

Go for it!

Conrad