From The Traditional Tune Archive
Fenced In, by Bonnie Bruno
On November 24, 1874, Joseph F. Glidden of DeKalb, Illinois, was granted a patent for fencing material consisting of barbs wrapped around a single strand of wire and held in place by twisting that strand around another. His original double-strand design, the Winner, lived up to its name; it is the most commercially successful of the hundreds of eventual barbed wire designs. Glidden was also the winner in a welter of litigation that reached all the way to the Supreme Court after some dozen other inventors claimed legal priority. Barbed wire was not immediately successful in Texas and elsewhere, especially with smaller cattle ranchers who depended on an 'open range' to sustain their operations. Their opposition led to the barbed wire conflicts of the 1880's, but eventually the ranges were fenced off. Although open range became a thing of the past, barbed wire helped cattlemen to breed herds in protected environments, thus negating the reliance on long-horned cattle that were more suitable to the open range.
TEXAS BARBED WIRE full Score(s) and Annotations and Past Featured Tunes
T:Texas Barbed Wire
EE|D2+slide+B2 BcBG-|D2 [DB]A BdBG-|E3 [Ec]B cdcG-|E2 [Ec]B cdcG-|
DD +slide+BA BcBG-|DD BA BdBG|AFAB cBAc|BG[GB][GB][G2B2]:|
Bc|dg[dg]f gfga|b2g2- gg-fg|abag fefg|a2f4Bc|
dg[dg]f gfga|b2g2- ge-fg|abae- fd[d2f2]|1 [B3g3][Bg] [Bg]dBc:|2[B3g3][Bg] [Bg]:|
Who builds the Archive
Although we are not trained musicologists and make no pretense to the profession, we have tried to apply such professional rigors to this Semantic Abc Web as we have internalized through our own formal and informal education.
This demands the gathering of as much information as possible about folk pieces to attempt to trace tune families, determine origins, influences and patterns of aural/oral transmittal, and to study individual and regional styles of performance.
Many musicians, like ourselves, are simply curious about titles, origins, sources and anecdotes regarding the music they play. Who, for example, can resist the urge to know where the title Blowzabella came from or what it means, or speculating on the motivations for naming a perfectly respectable tune Bloody Oul' Hag, is it Tay Ye Want?
Knowing the history of the melody we play, or at least to have a sense of its historical and social context, makes the tune 'present' in the here and now, and enhances our rendering of it.
Andrew Kuntz & Valerio Pelliccioni
Please register as a user to make the most of the many functions of the TTA, and enjoy the many ways that information about traditional tunes can be elicited and combined, from simple to complex situations. Users may make contributions, which, when reviewed by an editor, become part of this community project. Serious user/contributors may become editors through the TTA's autopromotion process, in which quantity and quality of entries allows increased levels of permission to edit and review the entire index.
Above all, the developers wish you joy in the use of the TTA.
- Crom Castle - (23:59, 16 November 2019)
- Puck Dance (The) - (23:53, 16 November 2019)
- Skunk in the Collard Patch - (21:13, 16 November 2019)
- 6/8 pour Linda Breitag - (17:43, 16 November 2019)
- Sister Donna Kelly - (17:30, 16 November 2019)
- Sister Ann - (17:15, 16 November 2019)
- Siston Breakwater (The) - (15:14, 16 November 2019)
- Sixteen Days in Georgia (3) - (14:58, 16 November 2019)
- Sixteen Days in Georgia (2) - (14:53, 16 November 2019)
- Siubaltac (An) - (10:24, 16 November 2019)