Name: Woodpigeon song, United Kingdom, 1960s by The British Library
Duration: 9 s

Sir John Conant recounts the beginning of his farming career in Rutland in 1949, including the importance of his wife Periwinkle. 
 
Interview with John Conant in 2019, An oral history of farming, land management and conservation in post-war Britain 
 
C1828/10, Track 1 [00:28:21-01:10:24] 
 
Copyright: The British Library Board 

https://www.bl.uk/projects/national-life-stories-oral-history-of-farming

Sir John Conant Recounts The Beginning Of His Farming Career In Rutland

This is a recording of the soft cooing song of the wood pigeon. Despite popular opinion, the wood pigeon is the most common pigeon found in the British Isles. A large plump bird, easily distinguishable from its feral cousins due to its cleaner appearance, wood pigeons are almost completely grey with a white neck patch topped with metallic green and violet tones to the breast and pink legs. Both rural and urban, this bird is happy inhabiting farmland and woodland areas deep in the countryside or parks and gardens in our cities and towns. The most common call associated with the wood pigeon is the repetitive ‘coo coooo coo cu cu’ which can vary in strength and duration.

Duration
00:00:09

Shelf mark
W1CDR0001376 BD6

Subjects
Birds

Recording date
1960s

Recording locations
OS Grid Reference(303500,565500)

Recordist
Shove, Lawrence

Species
Woodpigeon, Columba palumbus

https://pixabay.com/photos/woodpigeon-pigeon-side-forward-view-278260/

Woodpigeon song, United Kingdom, 1960s

Originally written and recorded as 'Barrett's Privateers' by Stan Rogers

With permission from Fogarty's Cove Records (http://stanrogers.net/)

Performed live and adapted by British Library Writer-in-Residence Rob Sherman and Nick Henderson (http://twitter.com/NickJHenderson) at the British Library, 8th December 2015 

“In the mid-nineteenth century, arguably the brief 'Golden Age' of vernacular organology aboard British ships, Arkwright's Privateers was one of the most popular 'chanteys', or accompanied work-songs, amongst the general maritime population. Though it did encroach upon naval vessels, it was amongst merchant crews and private ventures that it displayed the greatest tenacity; these vessels were often crewed by Midlands men, whose bravery and Romantic fate this song handles. It is also a prime example of the esteem in which sailors from the county of Derbyshire were held, an almost-mythopoeic pedestal from which they have never descended, not even in the present day.

The tune was likely sung on deck to the simple beat of a drum, most often as a 'hand-over-hand chantey', used in the task of setting the jib and other repetitive hauling tasks. The key evidence of this designation is the call-and-response component of each verse's first line, followed by a repeated refrain which keeps a tight rhythm, allowing for methodic application to the task at hand.

Despite its regional appeal, and its reliance on knowledge of mid-English folklore regarding the 'Derbyshire Sailors' and their adventures, versions of it have been recorded by folklorists up and down both littorals of the Atlantic, even as far south as the Antilles.”

Dr. Mark Tollas, from his introduction to 'Hilo, Boys, Hilo: A New History Of The English Ululation'

Learn more about Rob's British Library residency, 'On My Wife's Back' at http://onmywifesback.tumblr.com/ 

Arkwright's Privateers

Where are the current trends in radio and online audio leading? What might radio sound (and look) like on its 2022 centenary? Some leading figures of UK radio come together for a discussion on radio today and tomorrow: Ruth Barnes chairs a panel featuring Matt Deegan (Folder Media/Next Radio conference), Helen Boaden (Director of BBC Radio), Femi Adeyemi (NTS Radio) and journalist/broadcaster Miranda Sawyer. Produced by Rosina Sound & Allanah Chance for the British Library, 16 September 2016.

The Future of Radio

The Copeland-Long restoration of the earliest known recording of computer music, recorded at Alan Turing's Computing Machine Laboratory in Manchester in 1951. Read Copeland and Long's fascinating blog account of the all-night programming session which led to its creation, and Turing's reaction on hearing it the following morning:  http://blogs.bl.uk/sound-and-vision/2016/09/restoring-the-first-recording-of-computer-music.html

First known recording of computer music, 1951

A short stereo excerpt of a longer 8 channel work. This is a sonic investigation into community and gentrification in the London neighbourhood of Walworth. It has traditionally been a working-class neighbourhood with more recent residents coming from all over the world. The area has been subject to several contentious ‘regeneration’ schemes that have already caused the loss of 1100 socially rented homes of the Heygate Estate.

Elephant Endangered Stereo 1

Cataloging

One of the last Black Country chainmakers, Lucy Woodall, sings the worksong ‘Chainmaker lad is a masher’ and talks about singing. 

Recorded by Roy Palmer in Old Hill, Dudley, West Midlands, England. There was much iron and coal production in this area of England since the 1600s and chainmaking, centered around towns south of Dudley, was a flourishing business, now defunct. Songs like these are documents of our history and heritage. 

The full-length recording from the Traditional music in England collection is on British Library sounds: 
http://sounds.bl.uk/World-and-traditional-music/Traditional-music-in-England/025M-C1023X0040XX-0100V0#

Chainmaker lad is a masher

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Woodpigeon song, United Kingdom, 1960s

The British Library

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