In the next few posts I am going to dissect Doerflinger's collection. He has it organized by working-task -- something that, while popular for a while with writers, is not that useful. Like Sharp and Terry and several predecessors, he also followed the practice -- frustrating for my purposes -- of putting notes separate, in the appendix. The goal is, to some extent, to present the items as a collection of songs to enjoy. So much of his notes that accompany the scores are somewhat vague and unsupported. In almost all cases, I think his comments are quite reasonable, and I'm sure they are supported at least by what he has read. But, at this stage in the game (this stage of chanty-writing) most of his commentary IMO is not very interesting. It is an accumulation or repetition of prior knowledge. The specific notes on specific songs are interesting to see how ideas were shaped about them *individually*, but for general purposes, the notes don't add much. So, I'm trimming most of the notes except for ones attributed to informants.

And, I am rearranging the presentation in terms of his sources.

1951        Doerflinger, William Main. _Shantymen and Shantyboys: Songs of the Sailor and Lumberman_. Macmillan: New York.

I'm going off the original version. I haven't compared the revised version of 1970, which I assume only adds comments in light of more recent works like Hugill's, but which does not affect the collected raw material. I don't have my copy of the revised around, so I haven't compared it.

General comments.

Preface dated March 1950.
Songs gathered in New York, Nova Scotia, 30s and early 40s.

Omitted some verses unsuitable for printing. However, he didn't *change* anything, rather it was all transcribed meticulously, with individuals variation given. That's what makes his distinct from almost every other chanty collection.

Had editors to transcribe the music that he'd recorded.
Mary Elizabeth Barnicle made available some recordings of Dick Maitland Also consulted J. Colcord.

On vocal style, notes.

…high breaks, or "hitches," as Captain Tayluer called them……shrill breaks in the voice on one or two notes in each stanza.

I think this is the first time such ornaments were called (in print) "hitches." Something that Hugill would follow up on.

Speaks of "a revival in shantying." The ermergence of shanties circa 1830s was, in his view, a RE-emergence.

Says the white sailors brought shanties with them to cotton ports, and then left with Negro songs. This would become Hugill's "shanty mart" idea.