Adaptation and Change: A Continuation of Tradition?

The story of America is not only one of tradition, but one of traditions formed by melding cultures. As is made apparent in the first episode of Ken Burns’ documentary, this is no different regarding country music. Country, in other words, American folk music, gradually came into its own as a genre over the former half of the 20th century. It fused elements of European (whether the British isles or from the German immigrants who brought guitars with them) and African (e.g. banjo’s origins) to create a style unique to itself — one that personifies American life for many. In the documentary, it is thoroughly addressed that “for generations, Americans had also been adapting melodies from the old world by attaching new lyrics to match their experiences from the new world” (Burns 17:00). When I began to research Coleridge’s Rime of the Ancient Mariner, I noticed a relevant parallel. It turns out that even though it was intended to be poetry, the majority of the sales enjoyed by Coleridge were from sailors who believed his stanzas to be part of a songbook. Thus, while perhaps the adaptation is not as severe, they too shifted it to match their own experiences, and to lament their own suffering at sea. Thus, just as laborers and other rural southerners saw this upbeat form of music as an escape mechanism, so too could these sailors find camaraderie and fleeting comfort through song. Mentions like the “tyrannous and strong” storm blast (Coleridge 42) must have resonated with mariners, and the rhyme schemes presented by the poet make for the easy assumption that the words were meant to be sung. And much like the “hillbillies” and “forgotten ones” that, according to those featured in the Burns documentary, country music was intended for, so too did poetics/lyrics like these likely help ease the daily toil of life at sea. I am curious as to whether or not this sea-shanty adaptation was met with the same sort of criticism as country music, which had influential folks, the likes of Henry Ford (for example), who viewed it as low-class and unworthy of any audience. Were sailors/mariners viewed in this same negative light by high society? Are there any modern parallels we can ascertain from these examples? Overall, I look forward to discovering similar potential connections as this class begins, and to understanding the origins of folk music and literature — something I am not too familiar with aside from the absolute basics.