Category Archives: Musical

Childhood Jump Rope Song –

Text

“Cinderella dressed in yellow, went upstairs to kiss a fellow, made a mistake, and kissed a snake, how many doctors will it take? One, two, three, four, five, six, seven, eight…”

Context

This is a song one sings while jump-roping. According to my informant, you’re supposed to keep counting for as many jumps as the participant is able to go for before getting caught up in the rope or stopping. My informant heard of this particular jump rope song from her neighbor at a young age, and would sing it both with her as well as with other friends at school. She says it’s just a silly rhyming song, and that she’s unsure of how to analyze it any further. My informant says she remembers other jump rope songs she chanted as a child, but this is the only one she can remember in full due to its relative brevity.

My Analysis

When I heard my informant start talking about this particular jump-roping song, I immediately remembered also learning it in my childhood. However interesting enough, I only learned the song as a stand-alone song, and didn’t realize that it was associated with jump roping. Since the number “eight” rhymes with the previous lines of “take” and “snake,” I thought the counting was just a part of the song itself. But upon learning that my informant used it as a jump-roping song, the song itself immediately made a lot more sense.

Thanksgiving Song – “I Heard Mr Turkey Say”

Song Lyrics Transcribed from Informant

I heard Mr. Turkey say

gobble, gobble, gobble

Soon will be Thanksgiving day

gobble, gobble, gobble

People say it is such fun

But I know that I must run

and hide until the day is done

gobble, gobble, gobble

Context

My informant learned this song from her mother at an early age, and would sing it in November around Thanksgiving. When asked how she interpreted the song she said she that it was about a “Mr. Turkey” trying to escape the fate of many turkeys on Thanksgiving. She remarked that compared to Christmas and even Halloween, there weren’t a lot of Thanksgiving songs, but even though she learned the song from her German-Russian mother in North Dakota, she wasn’t certain that the song was necessarily invented by German-Russians.

My Analysis

I find this song to be really catchy, and I think it’s fun that it’s Thanksgiving-themed as that’s not necessarily a super-popular subject matter for musical composers. Overall, it’s a fun song about a Turkey trying to hide during Thanksgiving, and features a fun onamonapia with the repeated “gobble, gobble, gobble.” I agree with my informant that the song maybe wasn’t entirely invented in North Dakota, but I was unable to find a source of where or how the song was made.

Song Sung by Informant

Jazz Slang – Band Leader Terminology

Main Piece:

CS (mid-twenties, white male, music degree background, LA resident) and I had a conversation about musicians.

Me: “So can you like explain that phrase, ‘take it to the top?'”

CS: “Take it to the top means to go back to the beginning of the song.”

Me: “That’s it?”

CS: “Well, like, there’s also usually a hand motion too.”

He mimes spinning his hand in a circle in the air.

CS: “When we used to play at bars in New York, I’d have to swing my hand around all wild and scream it out just to get people to hear me. It’s usually energetic like that, ya know? Like when you want to keep the jam [song] going, you take it back to the top.”

Background/Context:

Phrases like this seem to be universal to musicians and are passed on homogeneously by other musicians and music teachers. The emphasis of this saying is returning to the “top,” which references the top of a music sheet where the notes would begin. The only real time that this phrase would appear would be during a live performance or amidst a practice with a band that plays the sort of songs that don’t have a clear run time.

Thoughts:

Jazz definitely serves itself to folk expression because of the collaborative nature of the music. Call outs like this connect the band into a collective consciousness that allows them to move as a uniform organism. The call out to loop the song also greatly relies on reading the audience for when the energy in the room wants the song to continue, versus wanting it to end.

“The Johnson Boys” Campfire Song

Nationality: Canada/USA
Age: 55
Occupation: Software Engineer
Residence: Seattle
Performance Date: 4/1/22
Primary Language: English

Context:

KR’s grandfather was a Scoutmaster in Ontario who led Cub Scouts and Boy Scouts on camping trips and also enjoyed going camping with his own family. He remembers this piece as one of the songs his grandfather used to sing around the campfire with them.

Main Piece:

“The Johnson Boys”

Verse 1:  
Oh, the Johnson boys, the Johnson boys,
 They lived on a mill on the side of the hill, 
Verse 2:
Oohh, the Johnson boys, the Johnson boys, 
They lived on a mill on the side of the hill,
Verse 3:
Ooohhhhh, the Johnson boys, the Johnson boys,
They lived on a mill on the side of the hill.

Continue ad infinitum, with the “oh” being drawn out longer with each repetition of the verse.

Analysis:

KR remembers “The Johnson Boys,” as “the song with one hundred thousand verses.” He says it’s, “a fun little song that everyone gets to chime in on,” since the lyrics were easy to remember and stretching out the “oh” always made the kids laugh. This song fulfills the classic roles of a good campfire song: something easy to pick up and remember, but with a fun twist to entertain the children. Since KR’s grandfather was a scout leader, the trips he led were mainly composed of children, it makes sense that he would have a library of these songs that are easily accessible for anyone.

This facet of folk song is interesting to me because while it is folk culture, it is also in some ways an institutionally pushed song. By this I do not mean that it was integrated into standardized education, or utilized by the government/corporations, but it significantly differs from some other children’s songs because it is a song that was taught to children by adults, and generally performed between children and adults. Often, folkloric children’s chants and songs evolve within the young population, perhaps even against the will of the adults surrounding them. But this song, and other campfire songs like it, are more of a bridge between the cultural worlds of the child and the adult leaders. They are neither the children’s song (because the children did not create it or claim it as their own to change and sing on their own) but also not a song for the adults (because the adults sing it primarily for the enjoyment of the children).

German Birthday Rhyme

Nationality: German
Occupation: Retired
Residence: Westergellersen, Germany
Performance Date: 4/10/22
Primary Language: German

Context:

HH is a retired former housewife who lives in Westergellersen, a small village in northern Germany.

Main Piece:

Am Fenster heute Morgen
Da saßen ohne Sorgen
Drei Spatzen und drei Meisen.
Ja was soll das den heißen?
Sie haben’s mir geflüstert.
Ich weiß es ganz genau:
"Name" hat heute Geburtstag.
Darum der Radau!

Translation:

At the window this morning
There sat without worries
Three sparrows and three tits.
What is that supposed to mean?
They whispered it to me.
I know it exactly:
It's "Name"'s birthday today
Therefore the noise!

Analysis:

This rhyme is longer and a bit more complex than the now ubiquitous ‘happy birthday’ song is in America, but it serves the same function. Both verses have a space to insert the name of the person who is being celebrated, which makes the chant personalized to the birthday celebrator. I think the inclusion of specifically named bird varieties, sparrows and tits, interesting because while these are common birds, they do place locational limits on the rhyme.

The final line of the verse, “Darum der Radau!” I found a little difficult to translate. I chose to translate word for word, but fear that the implied meaning may not be clear from this literal translation. ‘Darum’ can mean because of, therefore, or hence, and ‘Radau’ has a lot of adjacent translations including noise, racket, and hullabaloo. In effect, the final line of the rhyme is the speakers explaining why they are being boisterous and causing a racket (either through the loud reciting of the rhyme, or the celebratory event they are in the midst of).