Audio Recordings Money Musk
Articles and Essays with this item:
- Money Musk
- Contributor Names
- Jabbour, Alan (Performer)
- Jabbour, Alan (Transcriber)
- Jabbour, Alan (Collector)
- Reed, Henry, 1884-1968 (Performer)
- Created / Published
- Reed family home, Glen Lyn, Giles County, Virginia, October 28, 1967
- Subject Headings
- - Instrumental music
- - Fiddle tunes
- - Folk music--Appalachian Region
- - Breakdowns
- - Reels
- - Ethnography
- - Music
- - Field recordings
- - United States -- Virginia -- Giles County -- Glen Lyn
- Field recordings
- - Meter: 4/4
- - Compass: 15
- - Key: A
- - Performed by Henry Reed, fiddle.
- - Strains: 4 (high-low-lower-higher, 2-2-2-2)
- - Rendition: 3-1r-2r-2-4r-(spoken)-4r-3-4r-(spoken)-4-(spoken)-4-3-4r-1-3-4r
- - Phrase Structure: AB GH QRQS VW (aba'c ghgi qrqs qrtu vwxy)
- - Spoken: [after first part]/ALAN JABBOUR: Now, could you just play that extra part one more time? [Moves microphone] It's about time we set up again.[middle of performance]/ALAN JABBOUR: And didn't, once when you played it, didn't you go . . . . [Plays fiddle] Or
- - Recording chronology: 169
- - Duration: 2 minutes, 33 seconds
- - Performed by Alan Jabbour, fiddle.
- - Henry Reed recorded "Money Musk" four times; it was a project of sorts for him to get it assembled in all its possible parts. The tune--or at least its first two strains--is a Scottish reel from the end of the eighteenth century. Francis O'Neill (Irish Folk Music, p. 204) mentions a set, entitled "Sir Archibald Grant of Moniemusk's Reel," published ca. 1800, and it is in the Northumbrian small pipes collection Peacocks Tunes (ca. 1801), p. 2. It is a standard feature of nineteenth-century tunebooks; see for example Knauff, Virginia Reels (1839), vol. 1, #1 "Killie Krankie"; Winner's Collection of Music for the Violin, p. 55 "Highland Fling"; One Thousand Fiddle Tunes, p. 31 "Money Musk--Reel" and p. 128 "Money Musk--Strathspey." Twentieth-century sets show the tune to be well-established in Northern American tradition; see for example Linscott, Folk Songs of Old New England, p. 98; Burchenal, American Country-Dances, Volume I, p. 55; Ford, Traditional Music of America, p. 52.Henry Reed's version is a rarity in the Upper South, and it is all the more extraordinary for adding extra strains that turn the piece into a complex and challenging set piece. His first two strains are always the usual strains of "Money Musk," but following Upper South predilections he begins with the highest strain, and his second strain (the usual first strain) is distinctive in rising to the octave rather than descending to the lower tonic. His third and fourth strains (in this performance) are unique to his performance. Note how at one point he accidentally hits the open G and D-strings for the first note of the third strain, instead of using the first finger to play A and E; this may be an echo of his early years, when he tuned the violin EAEA for tunes in the key of A, thus playing those notes with an open string. In his first performance of "Money Musk" (AFS 13035b11), he conflates the tune with another old British and American reel, "The Devil's Dream," well-known in the tunebooks and in Northern American tradition but less usual in the South, and in his second performance (AFS 13037a06) other third strains seem to compete for his imagination. His third performance (AFS 13705b16) contains three parts, and the final performance (here) contains four.A performance of "Money Musk" including four strains, learned from Henry Reed, appeared on the Hollow Rock String Band's first album (Kanawha 311), whence it has had some circulation among musicians in the old-time music revival.
- Audio tape
- Call Number
- AFC 1969/008: AFS 13705B17
- Source Collection
- Alan Jabbour duplication project, part 2
- American Folklife Center
- Digital Id
Rights & Access
The Library of Congress is not aware of any U.S. copyright protection (see Title 17, U.S.C.) or any other restrictions in the material in this Collection, except as noted below. Users should keep in mind that the Library of Congress is providing access to these materials strictly for educational and research purposes. The written permission of the copyright owners and/or other rights holders (such as publicity and/or privacy rights) is required for distribution, reproduction, or other use of protected items beyond that allowed by fair use or other statutory exemptions.
The audio materials in this Collection were recorded by Alan Jabbour, director of the American Folklife Center (now retired), in his personal capacity. We gratefully acknowledge Dr. Jabbour's permission to place these materials online. Other materials made available with the permission of Dr. Jabbour include logs, fieldnotes, and musical transcriptions. Further reproduction (beyond that which falls within the scope of fair use) requires the permission of Dr. Jabbour. Kindly direct such requests to the American Folklife Center which will forward them to Dr. Jabbour.
Photographs in this Collection produced by Carl Fleischhauer, Karen Singer Jabbour, and Kit Olson are reproduced here with their permission. Mr. Fleischhauer does not object to additional use of the photos he created provided he is credited as the photographer. Persons contemplating other kinds of uses or use of the other photographers' work should contact the American Folklife Center at the Library of Congress.
Responsibility for making an independent legal assessment of an item and securing any necessary permissions ultimately rests with persons desiring to use the item. See our Legal Notices and Privacy and Publicity Rights for additional information and restrictions.
The special character of collections that result from ethnographic field research is outlined in What is an Ethnographic Field Collection? The American Folklife Center and the professional fieldworkers who carry out these projects feel a strong ethical responsibility to the people they have visited and who have consented to have their lives documented for the historical record. The Center asks that researchers approach the materials in this collection with respect for the culture and sensibilities of the people whose lives, ideas, and creativity are documented here. Researchers are also reminded that privacy and publicity rights may pertain to certain uses of this material.
As is often the case with materials collected in the course of ethnographic field research, however, it is difficult or impossible to sufficiently identify specific tunes performed by participants, which precludes performing a comprehensive assessment of the copyright status of underlying musical rights in compositions. Research performed by the staff of the American Folklife Center in anticipation of the release of this Collection in American Memory indicates that the underlying musical works appear to be in the public domain. As with all materials provided by American Memory, users are reminded that they must make their own assessment of copyrights or other rights (or absence of such rights) in the context of their intended use.
The staff of the American Folklife Center is eager to learn more about the musical compositions included in the Collection and encourages the public to contact them with any information at:
Library of Congress
American Folklife Center
101 Independence Avenue, SE
Washington, D.C. 20540-4610
Credit Line: Fiddle Tunes of the Old Frontier: The Henry Reed Collection. Library of Congress, American Folklife Center
How to Order Audio and Photographic Reproductions
Copies of audio and photographic materials found in Fiddle Tunes of the Old Frontier: The Henry Reed Collection may be ordered by writing to the Reference Librarian, American Folklife Center, Library of Congress, 101 Independence Avenue SE, Washington, DC 20540-4610. Please include your daytime phone number or e-mail address and street address with the written request.
Please detail the specific items you are interested in having reproduced and the uses to which the materials will be placed. If possible, send copies of down-loaded printouts of individual items being ordered.
To Order Copies of Sound Recordings
For phonoduplication requests, indicate the format (cassette, open reel, or DAT) you would like and the call number listed on the bibliographic record for individual audio tracks. The Library's Recording Laboratory charges at an hourly rate, comparable to that of local commercial studios and billable in quarter-hour segments, plus an initial start-up fee and the cost of tape and shipping. The current rate is approximately $110 for the first hour and about $90 per hour thereafter. If you order materials that are not consecutive, each "skip" from one item to another is calculated as five minutes of engineering time to be added to the total.
The American Folklife Center will forward your order to the Recording Lab. The lab, in turn, will send you a form to sign, indicating that you are taking responsibility for the copies you will receive. You will need to return that signed form together with the estimated pre-payment, and the lab will then schedule the work. The process usually takes from six to eight weeks.
For further information, see "Ordering Copies of Recordings from Archive of Folk Culture Collections."
To Order Copies of Photographs
For photoduplication requests, indicate the size and format (slides, negatives, or prints) you would like to have and provide the photograph's caption. In addition, please supply your daytime phone number or e-mail address. The American Folklife Center staff will contact you with information on specific ordering procedures, which may include contacting the photographer or owner of the photograph for permission.
For further contact information, go to the American Folklife Center contact information page.
Rights assessment is your responsibility.
More about Copyright and other Restrictions
For guidance about compiling full citations consult Citing Primary Sources.
Alan Jabbour Duplication Project, Part 2
Fiddle Tunes of the Old Frontier: The Henry Reed Collection
Song of America
American Folklife Center