Embedded Files
Below is a google drive folder with the paper, sources, musical examples from my presentation at Summits A&S and An Tir Kingdom A&S in February of 2023. If downloading the paper is not your preferred reading method, I have included the text below as well. (The footnotes didn't transfer well, I might try to figure that out.)
Here links to performances of each of the songs. Each song has citations in the video description (as well as in the paper itself).
Extant songs
Goose and Common (here is also the original version) 2019 in a folk style based on older lyrics
Diggers' Song probably 1649
Cutty Wren allegedly 1381
Original songs
May You Take Vengeance text from 1330s
Cast Off the Yoke text from 1381
Long Live the People texts collected from 14th century
Poetry and Song in Medieval Protest
HL Marcello Fornarius
For Summits Alpine Scholar
and
An Tir Kingdom A&S Competition
Feb 2023
INTRODUCTION
Wherever large groups gather - military drill marches, football games, protest crowds - people chanting slogans can veer into singsong cadences. Having personally been on strike, as well as at protests and marches, I got to wondering what chants and songs might have been heard at protests in the medieval period - after hearing an example at an event in the fall of 2022. I thought it would be fun to learn songs from various period protests, or to find period poems and perhaps make my own songs.
Most of my research will be from sources in English, or in translation. After skimming the book Popular Protest in Late Medieval English Towns, it seemed that poems and songs from protests in England were not necessarily written down the way they may have been on the continent, so I worried I would not have enough sources. Even for continental sources, the class of people who would be protesting against the aristocracy had less of their own written discourse (being less often literate), and we are dependent on sources from outside the actual group to record their shouts, songs, and even writings. Sometimes partial records are left, for example a chronicler noted in 1344 peasants besieged Cennina with tambourines, drums, trumpets, and raised banners, so I assume some music and singing would have transpired.
Further, what we think of as “protest” does not seem to have been the normal form of peasant struggle; instead passive resistance - looting the lord’s lands, poaching in forests, refusing to pay dues - was more common. It’s also important to remember that there is a distinction in this time period between peasants, citizens, guild workers, and lords - sometimes cries of “Il Popolo!” included guildworkers, and other times it was raised against the guilds - and citizens were likely more closely associated with the ruling class. Most subordinate classes thru history rarely been afforded the luxury of open organized political activity - such activity was dangerous if not suicidal; formal protest was the realm of the middle class. For example, going on strike in 1245 Douai, Flanders would cost the worker 60 pounds and they could be banished from the city for a year and a day. Critical and subversive ideas were often not recorded because of danger to the authors.
However, with some digging and a little help from friends, I found four already existing period or period-esque songs, and several period writings on which to base my own songs. I will set out the history and setting of each set of lyrics, as well as a brief introduction to the text. I will start with the extant lyrics in chronological order, then the songs I have written, also in chronological order of the lyrics.
EXTANT SONGS
The Cutty Wren: The song “The Cutty Wren,” was popularized by the band Chumbawamba on the album English Rebel Songs 1381-1914, originally released in 1988. There are multiple versions by other artists, but I learned Chumbawamba’s version of lyrics, being easy to find, and not too long.
In their liner notes, Chumbawamba claims that the song comes from the 1381 Peasant Revolt, which arose from the institution of a poll tax in 1380 in addition to other grievances, like wars with the French or corrupt officials. The wren symbolized (in fables and tradition) a king or tyrant, so singing about shooting the wren and eating him could be seen as protesting tyrants and redistributing their wealth, if not more grisly, less metaphoric meanings. The earliest printed version of “The Cutty Wren” isn’t found til 1776, but it’s entirely possible it’s older if it came from an oral tradition first. I’ve included the earlier version of this text in Appendix 1.
Oh where are you going? said Milder to Moulder
Oh we may not tell you! said Festel to Fose
We're off to the wood! said John the Red Nose
We're off to the wood! said John the Red Nose
And what will you do there? said Milder to Moulder
Oh we may not tell you! said Festel to Fose
We'll shoot the cutty wren! said John the Red Nose
We'll shoot the cutty wren! said John the Red Nose
Oh how will you cut him up? said Milder to Moulder
Oh we may not tell you! said Festel to Fose
With knives and with forks! said John the Red Nose
With knives and with forks! said John the Red Nose
And who´ll get the spare ribs? said Milder to Moulder
Oh we may not tell you! said Festel to Fose
We'll give them all to the poor! said John the Red Nose
We'll give them all to the poor! said John the Red Nose
The Diggers Song: “The Diggers’ Song” or “You Noble Diggers All” is also featured in Chumbawamba’s English Rebel Songs. The Diggers were a group of dissidents in England in the early and mid 1600s, with digging referring to their attempts to farm on the Commons – the term Digger first being used in the 1607 Midlands Revolt, but also referring to the Diggers on St. George’s Hill in 1649. Gerrard Winstanley and his followers took over common land on St. Georges Hill in 1649, to cultivate the land and distribute the food without cost to anyone joining in the work. Another group that started from similar roots as the Diggers were the Levellers; the “leveling” refers to both leveling of classes, but also literal leveling of hedges in the 1607 enclosure riots in the Midlands. Eventually, the Levellers sought to distance themselves and portray the Diggers as more radical extremists.
The lyrics of “The Diggers’ Song” are sometimes attributed to Winstanley, but the first publishing of the lyrics can be traced to 1894, and the tune to 1714. The lyrics are a call to the Diggers to stand up and hold the ground they have tilled, defending it from gentry, lawyers and clergy:
You noble diggers all stand up now, stand up now
You noble diggers all stand up now
The wasteland to maintain sing cavaliers by name
Your digging does maintain and persons all defame
Stand up now, stand up now
Your houses they pull down stand up now, stand up now
Your houses they pull down, stand up now
Your houses they pull down to fright your men in town
But the gentry must come down and the poor shall wear the crown
Stand up now diggers all
With spades and hoes and ploughs stand up now, stand up now
With spades and hoes and ploughs, stand up now
Your freedom to uphold sing cavaliers are bold
To kill you if they could and rights from you to hold
Stand up now diggers all
The gentry are all round stand up now, stand up now
The gentry are all round stand up now
The gentry are all round on each side the are found
Their wisdom so profound to cheat us of our ground
Stand up now stand up now
The lawyers they conjoin stand up now stand up now
The lawyers they conjoin stand up now
To rescue they advise, such fury they devise, the devil in them lies
And hath blinded both their eyes
Stand up now, stand up now
The clergy they come in stand up now, stand up now
The clergy they come in stand up now
The clergy they come in and say it is a sin
That we should now begin our freedom for to win
Stand up now diggers all
'Gainst lawyers and 'gainst priests stand up now stand up now
'Gainst lawyers and 'gainst priests stand up now
For tyrants they are both, even flat against their oath
To grant us they are loathe free meat and drink and cloth
Stand up now diggers all
The club is all their law, stand up now stand up now
The club is all their law, stand up now
The club is all their law, to keep all men in awe
That they no vision saw to maintain such a law
Stand up now diggers all
Cam ye o'er frae France: This song is slightly late for our period, being from the first Jacobite Rebellion of 1715. When Queen Ann died without an heir, the Catholic Jacobites sought to put James III on the throne, instead of the first George Hanover. Prescott details unraveling the dialect, the meaning of the words, and the style of the music and concludes that “Cam ye o'er frae France” is likely authentic to 1715. Lyrical meanings had to be obscured due to treason laws (in addition to Jacobites’ love of wit). The tune fits the style of the early Jacobite songs, and the tune is also unusual, with a large range and unused for any other songs.
The lyrics mock King George for marital problems. I relied on the Steeleye Span 1973 version to learn the tune, tho the wikipedia entry does include a notated first verse. Lyrics are in the Scottish dialect:
Cam ye o'er frae France? Cam ye down by Lunnon?
Saw ye Geordie Whelps and his bonny woman?
Were ye at the place called the Kittle Housie?
Saw ye Geordie's grace riding on a goosie?
Geordie, he's a man there is little doubt o't;
He's done a' he can, wha can do without it?
Down there came a blade linkin' like my lordie;
He wad drive a trade at the loom o' Geordie.
Though the claith were bad, blythly may we niffer;
Gin we get a wab, it makes little differ.
We hae tint our plaid, bannet, belt and swordie,
Ha's and mailins braid—but we hae a Geordie!
Jocky's gane to France and Montgomery's lady;
There they'll learn to dance: Madam, are ye ready?
They'll be back belyve belted, brisk and lordly;
Brawly may they thrive to dance a jig wi' Geordie!
Hey for Sandy Don! Hey for Cockolorum!
Hey for Bobbing John and his Highland Quorum!
Mony a sword and lance swings at Highland hurdie;
How they'll skip and dance o'er the bum o' Geordie!
Goose and Common: This is the song that started this project. I initially got this research idea from Robin Bowring’s performance of “The Goose and Common” at Samhain 2022. The song is originally by the English folk duo The Askew Sisters in 2019, but based on a poem from probably the 18th century - the earliest source they found was 1816, but had been collected from an earlier broadside. The topic of the poem is the enclosure of the commons, where landowners deprived commoners the rights of access to common lands for grazing or farming. One such uprising occurred in 1607 in the Midlands, where the peasants filled in ditches, tore down hedges, and generally opened anything enclosing the commons.
The lyrics refer to the goose as livestock that might live on the commons, commenting that laws demand justice for those who steal from the commons or individuals, but do not punish those who steal common resources from the community. The last verse can be read as an exhortation to fight back against enclosure and return the commons to the people:
The law locks up the man or woman
Who steals the goose off the common
But leaves the greater villain loose
Who steals the common from the goose.
The law demands that we atone
When we take things we do not own
But leaves the lords and ladies fine
Who takes things that are yours and mine.
The poor and wretched don’t escape
If they conspire the law to break;
This must be so but they endure
Those who conspire to make the law.
The law locks up the man or woman
Who steals the goose from off the common
And geese will still a common lack
Till they go and steal it back.
SONGS I WROTE
The following songs are based on period texts, that I then set to music. In the process of writing the music, I did some score study of 14th century pieces that I had previously sung, in addition to the new-to-me songs above. The historical happenings of the musical world in the 14th century were more in Italy than in England, and with my Italian persona I never previously sought out English sources specifically. A cursory search of composers available on IMSLP finds only Italian scores available from the 14th century. I decided that the correct century but mostly the wrong country was close enough for these purposes, since I was also influenced by the period-esqe folk-style of the previous four songs.
May you take vengeance: This song is based on a poem written in the late 1330s in Shropshire, possibly for Sir Lawrence in Stokesay Castle. The poem is protesting a high wool tax, an important commodity for the area, and stresses that the tax placed a burden on the lowest milieu of society. I selected portions from the translation from Middle French provided by Will Wyeth to set to music:
And may you take vengeance
On such oppressors,
May he lose consolation
Who destroys the peace!
Who can give from emptiness,
Or touch it with his hands?
May he lose consolation
Who destroys the peace!
People are in such bad straits
That they cannot give more;
And may you take vengeance
On such oppressors,
Is such a policy pleasing to God,
Thus to crush the poor?
And may you take vengeance
On such oppressors,
May he lose consolation
Who destroys the peace!
Cast off the Yoke: This song is based on selections from a sermon by John Ball. Ball was one of the leaders/agitators in the 1381 revolt. He preached for equality, as well as against the aristocracy and the Catholic church, leading him to be executed in 1381. The most famous excerpt of his sermon is in Appendix 1, below are the selections of text I adapted:
cast off the yoke; recover liberty
bondage came in by oppression of men.
cast off the yoke; recover liberty
When Adam delved and Eve span,
Who was then the gentleman?
cast off the yoke; recover liberty
all men by nature created alike,
cast off the yoke; recover liberty
bondage came in by oppression of men.
cast off the yoke; recover liberty
For God has not appointed who,
bondage came in by oppression of men.
who should be bound, and who be free.
cast off the yoke; recover liberty
now time is come, in which ye may
cast off the yoke; recover liberty
Long Live the People: I found several complete texts in Cohn’s Popular Protest in Late Medieval Europe, and I have included these in Appendix 1 for an idea of what 14th Century writing and speeches were like (in the English translations found in the books), and for future consideration when writing music. However, for the style of music I wanted this time, I found short punchy texts with multiple repetitions more useful. I compiled some of the slogans that were repeatedly or similarly recorded by chroniclers across France, Flanders, and Italy to adapt to music.
Long live the people,
Long live the people,
Down with the taxes
Long live the people!
Long live the people
Long live the guilds
Death to those who make us starve
Long live the People!
Long live the people
Long live liberty
Death to the tyranny,
We do not want you!
Long live the People
Long live the commune
Sire, this is pointless
since we’ll pay nothing!
Long live the people
Long live liberty
Death to the wolves
Long live the People!
Long live the people
Long live the people
To arms, to arms,
Long live the people!
CONCLUSION
While opinion writing and protesting has always been dangerous, some written records of songs and poems do survive from this period. While we don’t necessarily have an unbroken chain of record for music, it is reasonable to assume that an aural art was passed down unwritten, and that people may have sung or chanted some of these texts or others like them. With the rise of wealth inequality in modern times, it is somewhat heartening to be reminded that people have always been pushing back against oppressors in whatever ways are available to them.
Thanks to Robin Bowring for first sharing the song that sparked this idea, to Kaðlin in Stórráða for pointing me in the right direction on the other extant songs, Iurii Victorev Belagorski for being my first reader, to Weylyn, Victor, and Arnora for their unfailing support in all the things I do.
Appendix 1: Lyrics and Texts
Poem in protest of a wool tax
1330s, Shropshire
Now proceeds in England
From year to year
The tax of the fifteenth penny,
Thus inflicting a common harm.
And it brings down those wont
To sit upon the bench [ie those who sit on benches for comfort],
And it forces common folk to sell
Cows, utensils, and clothing.
It cannot be that such a policy
Is pleasing to God,
Thus to crush the poor
Under a bitter burden!
…
Who can give from emptiness,
Or touch it with his hands?
People are in such bad straits
That they cannot give more;
I fear that, had they a leader,
They would rise in rebellion.
Often people turn foolish
From loss of possessions.
Still more oppressive for simple folk
Is the wool collection.
Commonly, it forces them to sell
Their valuables.
…
By whom will this wool be taken?
Some respond
That neither king nor realm will have it,
But only the wool collectors.
Such a false weight of wool
Constitutes a bitter thing!
And may you take vengeance
On such oppressors,
And confirm and grant
Love between kings!
May he lose consolation
Who destroys the peace!
Amen.
The Jacquerie
Eustache Deschamps
1358(?)
The the three estates met
Which produced great division
In the people and a great stir
With the lesser ones against the nobility:
In the Beauvaisis they took
To killing women and children
Of the nobility, such were the times,
And to demolishing their homes
Burning, robbing, and tearing them down;
In Valois, Picardy, and Champagne
Such did the Jacquerie.
A Meaux, at Paris, and other parts
Many were hanged by the rope,
Many had their heads cut off,
Many lay dead in the fields like beasts,
For the nobles set out upon them,
As they arose to the attack,
And in the end defeated
This people of poor stock.
A tanner’s declamation
Paris, 1380
Will we ever get to enjoy prosperity and peace? Will we cease to see the greed of lords ever increasing, which with numerous and unjust taxes crushes us without respite, reducing us to such misery? Riddled with debts, we are forced every year to pay more than we earn. Do you understand, citizens, in what contempt we are held? If they could, they would without doubt deprive you of light. If you breathe, if you utter a word, if you appear, or if you go out into a public place and stand near them, they are indignant and say: why do they confuse the sky with the earth? Without doubt, these men to whom we are forced to grant homage, of whose health we are ever mindful, and whom we feed from our own sustenance, have no other thought than to polish their gold and jewels, be surrounded by a great entourage of servants, build loft palaces, and invent taxes to weigh down this mother of cities. For a long time, the patience of the plebes has borne these evil taxes. Unless we are soon freed from this intolerable yoke, I predict that the entire city will soon be roused to armed revolt; everyone would rather die many times than suffer such indignities.
Selection from John Ball’s Sermon
1381
When Adam delved and Eve span, Who was then the gentleman? From the beginning all men by nature were created alike, and our bondage or servitude came in by the unjust oppression of naughty men. For if God would have had any bondmen from the beginning, He would have appointed who should be bond, and who free. And therefore I exhort you to consider that now the time is come, appointed to us by God, in which ye may (if ye will) cast off the yoke of bondage, and recover liberty.
1776 Cutty Wren, via wikipedia
Will ze go to the wood? quo' FOZIE MOZIE;
Will ze go to the wood? quo' JOHNIE REDNOZIE;
Will ze go to the wood? quo' FOSLIN'ene;
Will ze go to the wood? quo' brither and kin.
What to do there? quo' FOZIE MOZIE;
What to do there? quo' JOHNIE REDNOZIE;
What to do there? quo' FOSLIN'ene;
What to do there? quo' brither and kin.
To slay the WREN, quo' FOZIE MOZIE:
To slay the WREN, quo' JOHNIE REDNOZIE:
To slay the WREN, quo' FOSLIN'ene:
To slay the WREN, quo' brither and kin.
The Ballad of the hammer men
Eustache Deschamps, 1382
The year thirteen-hundred-and-eighty-one (quarto vini)
On the first day of that fearful month of March,
A great wind of thieves and scoundrels rose up
And in Paris ran through all its parts.
At Les Halles its first sad havoc struck.
Then they stripped the Chatelet of its prisoners.
And one of the dandies said to me:
Flee! Flee! For here come the hammers of lead!
I was frighted; to the wood I went;
Nor would I have stayed in Paris for a hundred Marches;
But, thank God, I took horses and armour,
And I fled like a cowardly hare.
There you’d see the king’s men dispersed all over
Feeling far and wide.
And as they left, the servants cried:
“Flee! Flee! For here come the hammers of lead!
Prelates and the noble council, by morning,
Leave Paris, like foxes darting,
One by the seine, others by other roads
Even the gouty jumped like leopards
Once burnt, twice shy;
One had to yield before the rabble,
And when the time comes, let us all cry against such pillagers:
“Flee! Flee! For here come the hammers of lead!
In the end they’ll come to grief.
On this point, the prince held firm,
And let neither favour, friendship, nor fine gold
Be a shield against his honour, nor darts
To these unfortunates, give them nothing other than the gallows
To be hanged or drawn on the block
As an example to such imbeciles.
“Flee! Flee! For here come the hammers of lead!
For they did worse than Saracens:
The fools assailed Saint Germain
Destroying goods, guzzling wines,
Breaking into houses, killing innocent flesh,
Their doors locked and the carriages of
The king’s uncle of Burgundy held back. And according to
What I see, I say to myself:
“Flee! Flee! For here come the hammers of lead!
Prince I am inclined to write to you
That justice for long has had no friend,
That all went awry and away
In the city where you were named prince
You ought to strike down those (who have wronged) and keep saying:
“Flee! Flee! For here come the hammers of lead!
Eyewitness of troubles
Flanders 1379-82
How first they rose up
Those of Ghent, and outside the city they did go.
How they conquered the entire country,
Smashing mansions and breaking prisons;
How the peace was made
And soon after broken.
How the cities came into conflict
Arming one against the other.
And of the battles that came to pass,
And how those of Ghent held their own,
And controlled the supply of food.
How they won the battle
Outside Bruges against their lord.
How they robbed and offended
Their rightful lord and his men.
How they strove with all their wits
To put all the goods and people
Of Flanders in their mitts.
How they sent for England
And with the English they allied.
How afterwards the noble flower
At Rozebeke won the day
God be praised for the victory!
How the English entered
Our country, wearing the cross,
In aid of the city of Ghent.
How they won a battle,
And before the walls of Ypres laid their siege.
How they were driven out
So that they have no longer had a foot in this country.
How those of Ghent conquered
Oudenaarde and left it empty.
How the treaties were signed.
Appendix 2: Musical References
A 13th Century tune, I first learned “Miri Tis” from Idonia Sherewood; this version is slightly different from the one I know.
Unknown; transcriptions by J. F. R. Stainer & C. Stainer - adapted from John Frederick Randell Stainer, Cecile Stainer: Early Bodleian Music: Sacred and Secular Songs together with other MS. Compositions in the Bodleian Library, Oxford, ranging from about A.D. 1185 to about A.D. 1505. II: Transcriptions. Gregg, Farnborough 1967, p. 5.
Anonymous. “Laude Novella.” 13th century Italian. Ed. Al Cofrin.
da Firenze, Cherardelo, (1320-1362), “I’vo’ bene,” Ed. Al Cofrin.
Landini, Francesco, (1335-1397), “Abbonda di virtu, ” Ed. Al Cofrin.
Landini, “Ecco la primavera,” Ed. Al Cofrin
Anonymous, “Stella Splendens,” Late 14th century, free-scores.com.
Resources
Books and articles:
Boatswain, Tim. (2021). “St Albans and the Peasant Revolt.” Enjoy St Albans. Accessed 24 Nov 2022. https://www.enjoystalbans.com/st-albans-and-the-peasants-revolt/.
chumbawamba-booklets. “Chumbawamba - ‘English Rebel Songs 1381-1914’ - part 1, booklet pages 1-5.” tumblr. Accessed 24 Nov 2022. https://chumbawamba-booklets.tumblr.com/post/635946399227314176/chumbawamba-english-rebel-songs-1381-1914.
Cohn, Samuel. Creating the Florentine State: Peasants and Rebellion, 1348-1434. Cambridge University Press, 1999.
Cohn, Samuel. Lust for Liberty: The Politics of Social Revolt in Medieval Europe, 1200-1425; Italy, France, and Flanders. Harvard University Press, 2006.
Cohn, Samuel. Popular Protest in Late Medieval English Towns. Cambridge University Press, 2013.
Cohn, Samuel. Popular Protest in Late Medieval Europe: Italy, France, and Flanders. Manchester University Press, 2004.
Crossley, James. “John Ball, English Legend.” wordpress. Accessed 24 Nov 2022.
“The Cutty Wren.” Mainly Norfolk: English Folk Music and Other Good Music. Accessed 24 Nov 2022. https://mainlynorfolk.info/ian.campbell/songs/thecuttywren.html.
“The Cutty Wren.” songfacts. Accessed 24 Nov 2022. https://www.songfacts.com/facts/traditional/the-cutty-wren?fbclid=IwAR0gmNE74Vjxo6ncImWt50ZoY-Lmq4G4MyETd6RKQwTNZHti8GWOncNKU8I.
Dumolyn, Jan. “‘Criers and Shouters.’ The Discourse on Radical Urban Rebels in Late Medieval Flanders.” Journal of Social History 42, no. 1 (2008): 111-135.
Dumolyn, Jan and Jelle Haemers. “‘A Bad Chicken was Brooding’: Subversive speech in Late Medieval Flanders.” Past & Present 214, (2012): 45-86.
Farce. “A shadow of glorious (though strange) good things to come: The Ranters and libertarian communism in the English civil war.” libcom.org. Accessed 24 Nov 2022. https://libcom.org/article/shadow-glorious-though-strange-good-things-come-ranters-and-libertarian-communism-english.
“The Goose and the Common.” Mainly Norfolk: English Folk Music and Other Good Music. Accessed 24 Nov 2022. https://mainlynorfolk.info/folk/songs/thegooseandthecommon.html.
Gurney, John. Brave Community : The Digger Movement in the English Revolution. Manchester University Press, 2007.
“The Levellers.” British Civil Wars, Commonwealth and Protectorate 1638-1660. Accessed 24 Nov 2022. https://web.archive.org/web/20080513163351/http://www.british-civil-wars.co.uk/glossary/levellers.htm.
“The Midland Revolt in Stow’s Annals of England.” The British Library. Accessed 24 Nov 2022. https://www.bl.uk/collection-items/the-midland-revolt-in-stows-annals-of-england.
“The People of 1381.” Henley Business School: University of Reading. Accessed 24 Nov 2022. http://www.1381.online.
Prescott, James. “Unriddling Came Ye O’er frae France?” jpnet.ca. 1988. Accessed 24 Nov 2022.
https://jpnet.ca/data/music/camyeoer.html.
“Readings from the Peasants’ Revolt.” (2002). BBC4. Accessed 3 Dec 2022. https://www.bbc.co.uk/radio4/history/voices/voices_reading_revolt.shtml.
Wyeth, Will. “Faithful subject or Rebel? A 14th Century Knight and a Protest Poem.” English Heritage. Accessed 3 Dec 2022.
“You Noble Diggers All (The Diggers’ Song).” Mainly Norfolk: English Folk Music and Other Good Music. Accessed 24 Nov 2022. https://mainlynorfolk.info/leon.rosselson/songs/thediggerssong.html.
Lyrics:
Boyle, James. “Stealing the Common from the Goose.” On the Commons. Accessed 4 Dec 2022.
“Chumbawamba –The Cutty Wren (Part 1).” genius.com. Accessed 24 Nov 2022. https://genius.com/Chumbawamba-the-cutty-wren-part-1-lyrics.
“Chumbawamba –The Cutty Wren (Part 2).” genius.com. Accessed 24 Nov 2022. https://genius.com/Chumbawamba-the-cutty-wren-part-2-lyrics.
“Chumbawamba - The Diggers’ Song.” genius.com. Accessed 24 Nov 2022.
https://genius.com/Chumbawamba-the-diggers-song-lyrics.
Printed Music:
Anonymous. “Stella Splendens.” Late 14th century. Free-scores.com.
Anonymous. “Laude Novella.” 13th century Italian. Ed. Al Cofrin.
da Firenze, Cherardelo. (1320-1362). “I’vo’ bene.” Ed. Al Cofrin.
“International Music Score Library Project.” Petrucci Music Library. Accessed 24 Nov 2022. https://imslp.org/wiki/Main_Page.
Landini, Francesco. (1335-1397). “Abbonda di virtu.” Ed. Al Cofrin
Landini, Francesco. (1335-1397). “Ecco la primavera.” Ed. Al Cofrin.
Unknown author - James Hogg (ed.): The Jacbite Relics of Scotland. Edinburgh 1819, p. 87-88.
Unknown; transcriptions by J. F. R. Stainer & C. Stainer - adapted from John Frederick Randell Stainer, Cecile Stainer: Early Bodleian Music: Sacred and Secular Songs together with other MS. Compositions in the Bodleian Library, Oxford, ranging from about A.D. 1185 to about A.D. 1505. II: Transcriptions. Gregg, Farnborough 1967, p. 5.
Youtube and other recordings:
Askew, Emily and Hazel. Videos. The Askew Sisters. Accessed 3 Dec. 2022. http://www.askewsisters.co.uk/pages/site/video.htm.
The Askew Sisters. “The Askew Sisters - Goose & Common (Official Video).” youtube. Accessed 24 Nov 2022. https://m.youtube.com/watch?v=kuJk9EutQ6s&feature=youtu.be.
CFB Obsession. “College Football Best Crowd Chants. Part 1” youtube. Accessed 24 Nov 2022. https://youtu.be/ItaebxT2q08?t=131.
Chumbawamba. English Rebel Songs 1381-1914. Agit-prop Records, 1988.
Boulanger, Eric. “Medieval England - Anon. 1225: Miri it is while sumer ilast.” youtube. Accessed 3 Dec 2022. https://www.youtube.com/watch?v=7UvesKl8_W8.
Nim. “Chumbawamba - ‘English Rebel Songs 1381-1914’ full album.” youtube. Accessed 24 Nov 2022. https://www.youtube.com/watch?v=zGh8J2HEnfM&t=1204s.
Rumpoleful. “Steeleye Span - Cam Ye O’er Frae France.” youtube. Accessed 24 Nov 2022.
https://www.youtube.com/watch?v=8NrHkf7rB34.
superflyr. “Tell me what democracy looks like! THIS IS WHAT DEMOCRACY LOOKS LIKE!” youtube. accessed 24 Nov 2022. https://youtu.be/WTLg729voaU?t=16.
U.S. Drill Sergeant Field Recordings. “I Don’t Know, But I’ve Been Told.” youtube. Accessed 24 Nov 2022. https://www.youtube.com/watch?v=7CBbmo7eAGM.
Wikipedia articles for easy reading:
“Cam Ye O’er Frae France.” wikipedia. Accessed 24 Nov 2022.
https://en.wikipedia.org/wiki/Cam_Ye_O%27er_Frae_France.
“Cutty Wren.” wikipedia. Accessed 3 Dec 2022. https://en.wikipedia.org/wiki/Cutty_Wren.
“Diggers.” wikipedia. Accessed 24 Nov 2022. https://en.wikipedia.org/wiki/Diggers.
“Diggers’ Song.” wikipedia. Accessed 24 Nov 2022. https://en.wikipedia.org/wiki/Diggers%27_Song.
“Enclosure.” wikipedia. Accessed 24 Nov 2022. https://en.wikipedia.org/wiki/Enclosure.
“Gerrard Winstanley.” wikipedia. Accessed 24 Nov 2022. https://en.wikipedia.org/wiki/Gerrard_Winstanley.
“John Ball (priest).” wikipedia. Accessed 24 Nov 2022. https://en.wikipedia.org/wiki/John_Ball_(priest).
“Levellers.” wikipedia. Accessed 24 Nov 2022. https://en.wikipedia.org/wiki/Levellers.
“Mirie it is while sumer ilast.” wikipedia. Accessed 3 Dec 2002. https://en.wikipedia.org/wiki/Mirie_it_is_while_sumer_ilast.
“Music of the Trecento.” wikipedia. Accessed 24 Nov 2022. https://en.wikipedia.org/wiki/Music_of_the_Trecento.
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