Some of Deck's Fiddles at St. Ann Arts & Cultural Center
French-Americans inherited a rich repertoire of songs and dances from France, especially from Normandy, Brittany and Poitou, all regions that had been part of the Celtic world in earlier times. Like all oral transmission, musical materials combined enduring traditions with recent experiences and 'foreign' influences, especially those from Irish and Scottish immigrants.
"The violin has long been--and remains--at the heart of Quebec traditional music. After its development in Italy and France in the sixteenth century, it was the acompaniment of choice for dances in France, Ireland, Scotland and in the North American colonies, in spite of the church's strong disapproval.
"Early dances included French and English contredanses, minuets and cotillons, and, apart from the minuet, they are all still danced today, as are the later waltz and polka. Early records show that dancing was a popular form of entertainment during the early years of settlement in the New World, in spite of the demanding tasks required to survive in the new environment and the restrictions imposed by the Catholic Church. According to Camille Brochu, 'by the early twentieth century, dance fashions continued to travel...between both sides of the American border....According to Voyer, the American quadrille, born of the French pot-pourri, gained popularity...well into the twentieth century.'
"Step-dancing (la guigue), with original roots in the Irish and English countryside, continues to appear, either as a solo form, for several dancers, or as the percussive element in a musical ensemble. It can also be used to keep time for dances as well as music. The use of footwork/feet as percussion is a distincticve feature of Quebec and New England French music to this day.
The button accordion and the harmonica were adopted during the nineteenth century; the accordion practically disappeared in Franco-American music in the Northeastern US, but remains a common instrument in Quebec. It also continues to be favored in Louisiana Cajun and Creole music.
"The jaw harp, one of the oldest musical instruments in the world, continues to appear in Quebec's traditional music as do small percussive instruments (wooden spoons, for instance).
In addition to instrumental music, Quebec musicians are known for their long-standing love of song. Marius Barbeau began collecting and presenting Quebec folklore at the National Museum of Man in 1914 and made his first folksong recordings in 1916. He sparked a new appreciation for folk culture, which became central to Quebec cultural nationalism.
"By the early twentieth century, Quebois culture had shifted from rural family-based farms to industrial employment in urban centers and abroad (mostly in New England). During this period, traditional social gatherings known as veillees gave way to more mordern forms of entertainment. At the same time, the piano, popular by the end of the nineteenth century, became the focus at family gatherings, intensifying the preservation of song notebooks (cahiers de chansons) in family reunions, and traditional celebrations. Franco-American singer Martha Pellerin carried with her notebooks with hundreds of songs given to her by older members of the Vermont Franco-American community who wanted them preserved for posterity.
"The Quiet Revolution of the 1960's and 1970's were marked by a surge of artistic creativitiy, with literary writing in the joual vernacular, folk festivals, formation of new urban folkmusic ensembles and the revitalization of traditional crafts. Quebec was transformed during this period of intense cultural and political nationalism. In New York and New England, the political context for Franco-Americans had no parallel to that surge. On the other hand, the increased influx of immigrants of various backgrounds into the region made Franco-Americans more conscious of their own history and heritage.
"A new generation fo Quebecois musicians are experimenting with 'neo traditional' music, bringing new influences to their music. Many musicians and dancers continue however to maintain traditional music and dance. On the US side of the border, traditions have begun to be revived by young people and many artists have resiliently maintained multigenerational traditions....some of the New England and Northern New York families who trace their ancenstry back to Quebec or Acadia preserve some of the most enduring traditions in the face of change: tourtiere (meat pies), chansons a repondre, la gigue, the weaving of rugs, boudins, are just a few of the food, crafts and words that resonate in Franco-American communities today. Visits in both directions across the border have maintained relatievely similar musical and culinary preferences.
"Primary among the song genres are the chansons a repondre and complaintes, which resemble Celtic laments, as well as work songs adapted to the new environment. Several of these tunes can be traced back to Europe, some are found only in Quebec. One cannot underestimate the influence of the traditions transmitted to Quebec from family members working in New England during years when many Quebec inhabitants traveled south--seasonally or permanently--to find work.
"A common border has continued to encourage family visits, fostering the sharing of food and musical traditions particularly. ,,,,renewed interest in the history and repertoire of forbearers, regularly playing music and exchanging stories with their contemporaries across the border just as past generation renewed their repertoire and traded recipes and songs back and forth."