Category Archives: Musical

Song for Sick Children

Nationality: American
Age: 58
Occupation: Retired
Residence: Seattle, WA
Language: German

German text: Armes häschen bist du krank, dass du nicht mehr huepfen kannst
English Translation: Poor bunny, you’re so sick that you can’t hop anymore

Context: This is a Swiss song that H.’s mother used to sing to her when she was sick. She still sings it today and it still comforts H. H. also sings it to her friends. She only sings one line of the song.

Analysis: This song holds personal significance for H., in that it serves as a comforting ritual. When she sings it to her friends, she continues this feeling of care and community. Hopping is a bunny’s fundamental movement, so the bunny’s loss of hopping in the song emphasizes that the bunny is sick. It suggests that this culture cares about their children and sees them as full of life. This song is a symbol of enduring love and connection.

Children’s Circle Clapping Game & Song

Nationality: American
Age: 18
Occupation: College student
Residence: Sudbury, Massachusetts
Language: English

Text:

Crock-a-dilly oh my
Crock, crock, crock
Say cinco cinco
Cinco cinco sock-a-lock-a
Fallow, fallow
Stick your head in Jell-o
Your face is turning yellow
1, 2, 3, 4, 5, 6, 7, 8, 9, 10

Alternatives: (Substitute for the last two lines before the numbers)

Stick your head in ink
Your face is turning pink

Stick your head in water
You look like Harry Potter

Video:

Context:

The informant is from Sudbury, Massachusetts and used this text in the early 2010s as they were growing up. The text is associated with a children’s game that is meant for 2 or more players. The informant played it at summer camps and recess in elementary school up until early middle school (ages 6-12). It acted as a bonding activity to the informant and almost every child knew how to play. To play the game, the children sit in a circle with their hands to either side. Each child in circle would put one of their hands on top of the player next to them and the other on the bottom of the player on the other side. For example, they might have their right hand on top of the hand of the player on their right, and their left hand below the hand of the player on their left. The game begins with one child moving their hand that is on top in an arc motion across their body to the other side, hitting the hand of the next player. Simultaneously, the group began to sing the song. The child who had their hand hit by the first player, repeats the motion to the next player who continues the chain. The sound of the clapping happens on beat with the song. The player who’s hand would be hit on the final beat as the song reaches “10” must pull their hand away before it is hit, making the previous player hit their own hand. If the player removed their hand successfully, they remain in the circle. If they were unsuccessful, they were eliminated from the game and the next round started without them. This continues on until only two players remained where the clapping game changes slightly. The two players sit across from each other and one puts their hands out facing up and the other places their hands above, facing down. The two move towards each other, clap in the middle, and continue moving apart. They then swap directions so the player that went down now has their hands facing up and vice versa. The two then continue the motion, again on beat with the song, with the same mechanic to eliminate the final player. If the final player is successful in removing their hands, they win. If they are unsuccessful, the other player wins. The tempo of the game is changeable and it can go as fast as the children want it to, making the game harder because there is less time to react and pull your hand away.

Analysis:

This game is common throughout many regions of the US but the song’s lyrics change. The last lyrics in this oicotype of the song make references to things that children enjoy such as the sweet dessert Jell-o and the middle-grade series Harry Potter. Other lyrics involve made-up words such as “crock-a-dilly” and “sock-a-lock-a.” Both of these lyrical choices reflect the fact that it is children who are making and adjusting this song. Adults wouldn’t focus on children’s novels or fake words in a song they made for children. Many other versions of the song include words in Spanish like this one. This may be for a few reasons. One is that Spanish is the second most spoken language in the US and is therefore the most likely to be included alongside English in songs. Another is that Spanish is a commonly learned language for children in schools, where this game is often played. The Spanish in this version is the word “cinco,” meaning five in Spanish. This is one of the first words that is learned by children as they start a new language. Since children are the ones who are singing and changing the lyrics over time, incorporating Spanish that they are just starting to learn makes sense.

The game that goes along with the song suggests some adult involvement in the overall activity as it is a way to contain children and encourage bonding with a group. Groups of children do play this game of their own accord and enjoy it but it can be co-opted by adults for their own benefit. Adults might want all the kids in a class or summer camp to sit down and play a fairly stationary and calm game instead of running around and being rowdy. This game gives them that ability. The game is also able to expand to a practically unlimited number of players, allowing for both large and small groups of children to be contained.

Family Musical Performance at Get-Togethers

Text: 

“Whenever we have a family gathering, everyone brings their instruments and we put together a big family music performance – usually bluegrass or some symphonic ensemble piece. This ritual serves as a bonding experience for us. It’s something we’ve done for generations. Whenever we have a family gathering, everyone brings their instruments and we put together a big family music performance – usually bluegrass or some symphonic ensemble piece.”

Context: 

The informant is a 21-year-old university student from the United States, of Irish descent. The aforementioned family event happens annually, usually in summer. The informant came from a family of musicians: her grandparents taught music education at the university level, her mother is a composer and a professional trumpet player, her father directs marching bands, her aunt and uncle are percussionists, her cousins sing, play fiddle, and study guitar at university, and the informant herself play horn and piano. The informant considers this musical performance a significant bonding experience among family members.

Interpretation: 

As a family-specific identity marker, music distinguishes the informant’s family and is a characterizing trait shared across generations. To celebrate the family’s reunion and each family member’s musical heritage and accomplishments, it’s natural to arrange and perform a symphonic ensemble piece that may be only applicable to the informant’s family, for each family specializes in a variety of musical instruments and different related skills. On a personal level, being a musician is a part of the informant’s identity that gives her a sense of belonging to her loved family.

It’s worth noting that the family musical event happens annually in summer, which is likely due to the beginning of summer break when the youngest generation of the family returns home from their universities. This highlights how the musical trait is a heritage passed down and will likely be continued as the torch is handed over to the youngest generation, with most of them pursuing music-related education. Correspondingly, hosting the event in summer is not only due to factually it’s when all families reunite, but also because of the focus on the youngest generation and the expectation that they will continue the family’s musical professionalism like their parents and grandparents.

Memorate: A Coworker’s Ghostly Encounter

Context:

Informant N is the collector’s supervisor in the technology department of USC SCA. He is 27 years old and grew up in Denver, Colorado until age 7, when he moved to Sandpoint, Idaho. His father’s family is from the “deep south,” and his mother was “an army brat” who lived mostly near the east coast. N’s family has been in the US “since the mayflower,” and his ancestry is mostly German, Northern English, and Welsh. He now lives in Los Angeles, CA and is a singer/songwriter, as well as an employee of the film school’s technology services.

Text:

Informant: “Okay so when I was a kid, my mom – in the first floor, this was like a three story house, the house was like a hundred years old if not more. Um, classic brick style home, it was in Denver. And there was a doctor who lived in the house with his um… I think she was a distraught person, probably back then. Like she probably had some mental illness that was untreated and you know, back then they kind of skewed those people into obscure…”

Collector: “What year was this?”

Informant: “Oh this was like 30s (…). So she was a well-known pianist at the time and she eventually committed suicide in the house and the house was also a historical site. So the house is old, there have been people who lived there who had some musical connection and there was the suicide and you know… There was a couple times growing up where I would hear the piano play and my sister would hear the piano play while we were upstairs and my mom wasn’t home playing the piano nor was my dad or whatever, or we had a babysitter at the time. So there was just a couple weird moments in that house where the piano would be playing and we’d go downstairs and it would stop playing so whether that’s true or not I don’t know but I remember it and my sister clearly remembers it and to this day it’s very bizarre to me and it makes me feel a little… (*informant trails off*)”

Collector: “How did you find out about the woman who died?”

Informant: “My parents – my mom found out about it after they bought the house. The history of the house.”

Collector: “From who?”

Informant: “I think from a neighbor’s family or something. (…) It was like a local thing so it was kind of weird. (…) The piano that was in the house was over a hundred years old at the time.”

The informant also mentioned that his sister, who was 8 or 9 at the time of the piano incidents, is “still perturbed” by them to this day. He also mentioned that he experienced what he called “typical ghost stuff” – that he would hear dogs barking at nothing, and that one of the room’s in the house (his sister’s room) was specifically colder than others. His family checked and made sure that “the piano wasn’t a player” piano (a self-playing piano), and noted that the music he heard was notably classical, and that the woman who had died was a classical pianist.

Interpretation:

N’s ghost story seems pretty typical upon first glance, but I find it interesting because of both his personal context and folkloric trends in memorates. For one thing, the informant seems to truly believe that all of this happened and that something supernatural was going on because his sister also experienced it. He mentioned her multiple times throughout the story and when he was providing more context, and we’ve talked a number of times about how people tend to believe what their peers, family, friends, etc do. What’s more, his family heard about the woman who supposedly died in the house from a neighbor, making this particular figure almost a local legend. While I wouldn’t label her a full-on urban legend for lack of popularity or name, the story about her being mentally unstable and her death in the house is legend-like. She has the traits of one as a woman believed to be mentally unwell and responsible for a haunted area. The apparent ghost is not necessarily true, but there is a negotiation of sorts about whether to believe it for the informant, his family, and his neighbors. This woman’s story lines up with a lot of what we know about ghosts – having unfinished business of some sort (to play music for others), hauntings that happen when things don’t go as they should (her suicide), and the idea that ghosts’ have property even after death (the piano). This story is definitely a memorate for the informant, who seems unsure whether he believes in ghosts entirely, but is fairly convinced that something happened in this house, and still finds it inexplicable and bizarre 20 years later.

Christmas Music Car Ritual

Text
C: “My Grandma started this ritual because she was a very big fan of the Thanksgiving holiday and a very firm believer that like, Christmas season doesn’t start until Thanksgiving passes. Um, and so she started this thing in the car that you are not allowed to listen to Christmas music until the day after Thanksgiving. Um, and then it’s like- it was believed it was bad luck, like it’s not proper, like, um, I don’t know how to explain it, but it’s like we’re not celebrating the holidays in the proper way. And if someone requests it it’s like- like I have personally before been like ‘should we listen to Christmas music’ and been like shunned by my brothers being like ‘No! Grandma says we do not listen to Christmas music in the car until after Thanksgiving, like Grandma does not allow that.’ So it is like a holiday ritual now that we follow.”

Interviewer: “And was it like a big deal when you could listen to Christmas music again?”

C: “Mhm! Especially when it would be with my Grandma, because she would have in her car this, like, plastic container that was at least a foot long that had all of the CDs of Christmas albums, like, stacked. So like, it was when that got transferred from her garage into the car after Thanksgiving, that was the signal of ‘okay, now it’s time’ and then it like- it was like finally, we can ask and we don’t have to be afraid of her being like, ‘no, it’s not Thanksgiving yet.’”

Interviewer: “Would that be something, like, an act that you witnessed, or would it be like a fun surprise?”

C: “No, we would see her do it, because we practically lived with her for most of my childhood, so we would see her from the garage get- like, we knew where it was in the garage- get it and put it in. And then it was a thing of like, we can each grab one of the CDs and pick the ones we wanted, and then she would put them in and then take the next one out and be like ‘what’s the next song to have on?’ So it was like an actual little ritual thing.”

Context
C is a current student at the University of Southern California and grew up in Palm Desert, California. She explained that the ritual always occurred the day after Thanksgiving. When asked if anyone had ever broken the rule about no Christmas music in the car before Thanksgiving, C laughed nervously and admitted that she is a massive fan of Christmas music and sometimes listens to it in her AirPods during the summer, but that she “will NOT tell anyone” in her family, as they would still react poorly. Her pre-Thanksgiving Christmas music listening is restricted to her AirPods, however; she described one instance in which she began to listen to Christmas music in the car with her boyfriend before Thanksgiving, but felt “too guilty” and had to turn it off. Despite her love of Christmas music, C believes she will continue the tradition and ritual with her future family.

Analysis
This ritual seems to be a very calendric/seasonally-based ritual enforced, as C mentioned, to ensure the ‘proper’ and time-appropriate celebration of the seasons. I have noticed that the United States, especially in commercial settings, tends to begin preparing for Christmas well in advance of the holiday, often de-emphasizing Thanksgiving celebrations by barely squeezing it in between Christmas and Halloween. By establishing listening to Christmas music before Thanksgiving as a forbidden practice, C’s grandmother is able to keep the lines between different seasons and celebrations distinct and honor each in their own time. In doing so, she also created a ritual that, from C’s description, served as a fun and fondly-remembered marker of the beginning of the Christmas season for her and her grandchildren.