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Folk 100: A playlist from the Archives of Traditional Music

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You may know that as of 2026, the Department of Folklore and Ethnomusicology is celebrating the 100th anniversary of Folklore Studies at Indiana University. Events across campus planned as part of the Folk 100 Initiative are taking place this Fall, so be sure to visit the department’s website to stay tuned in for upcoming celebrations.

Given the timing this year, I explored Folklore and Ethnomusicology students’ contributions to Indiana music collections held by the Archives of Traditional Music as part of the course ILS-Z 604 Folklore Archives in the Digital Age, taught by Dr. Barbara Hillers. Dr. Heather Sloan, Outreach and Public Services Archivist and Assistant Librarian at the ATM, supervised the project and guided my work.

In 1926, six students submitted their M.A. theses on a range of folklore topics, to Stith Thompson, the eminent folktale scholar and founding figure for folklore studies at IU. Thompson’s appointment was in the English Department, and he gradually built a folklore program that developed into, initially, the Folklore Institute and eventually an academic department. Brown County Songs and Ballads: Collected and Annotated by Mabel Evangeline Neal was one such work submitted to Thompson, launching a century’s worth of research and scholarship devoted to the collecting, performance, and study of traditional music in Indiana by IU Folklore and Ethnomusicology students.

Mabel Evangeline Neal, unknown date (Source: FamilySearch, 2026).

Neal transcribed the text of 100 performances by her mother, Lurena Catherine Smith, and grandfather, Nathan Smith, in Brown County, providing musical notation for a small number of them. The collection is principally made up of singing games, ballads, lyrical songs, and poems originating in northwestern Europe and America, commonly “sung by the older people of Brown County, Indiana, twenty to forty years ago” (Neal, 1926, p. 3).

The work was completed at a pivotal time, when the recording industry and radio were still in their infancy, and when tradition bearers learned much of their repertoire by “word of mouth” rather than from printed commercial music. The notable exception Neal notes is scrapbooks that people would occasionally keep, writing down the longer ballads, calling them “song ballets” (p. 4). These would then be popularly traded between communities “in the best hand-writing of those who would learn a new song.” The result of Neal’s collection is a snapshot of a vernacular Hoosier music tradition that experienced its heyday from the late nineteenth to the early twentieth century.

The Playlist

In the preface to her collection, Neal expresses a fear that unless collected from the older generation, the folk songs known to her and her community would die out (1926, p. 1). It is a familiar, inspiring adage, often spoken by scholars and researchers determined to preserve the cultural heritage around them. In celebration of that spirit, the following playlist will explore subsequent Indiana music collections held by the ATM, with a focus on variants of songs featured in Brown County Songs and Ballads.

Click below to access the songs featured in the playlist on Media Collections Online. An IU login is required to listen to certain tracks. You may request an IU guest account through Access Services at Wells Library.

Listen here

Track 1

Let’s start off the set with the first text Neal lists in her collection of play party songs, lyrical songs that accompanied dance figures, skipping steps, and games enjoyed by children and young people at social gatherings and at home during long winter evenings (1926, p. 3). Instruments typically did not furnish the music, especially the fiddle, as it was thought to be “wicked” by certain “church goers” in the area. Nonetheless, according to Neal, the play party gave way to old-fashioned square dance, in which the “dramatic action and romping rhythm of the ‘skipping songs’” (p. 2) influenced the development of the latter. 

“Billy Boy,” as maintained by Neal, is a “favorite Old World folk-song of vivacious dialogue” (1926, p. 164) that, unlike most play party songs, did not accompany any kind of dance figure or game. This would suggest that it was likely performed with one child singing the question verse and another singing the response. Below, let’s listen to Joe Dawson of Bloomington, Indiana, sing his version of “Billy Boy” that he learned from his grandmother in Brown County, accompanied on guitar by Grey Larsen. Recorded by Grey Larsen on July 17, 2003.

Joe Dawson sings “Billy Boy” (2003) [15-007-F]

Dawson’s version bears remarkable resemblance to Neal’s transcription, albeit with minor differences in word choice and the absence of three verses. In fact, given how much they resemble each other, it is not unimaginable that the other verses Joe refers to match the ones Neal recorded. It is particularly compelling to recall that Dawson grew up in Brown County, where Neal’s collection originated.

Joe Dawson, circa 2003 (Source: Larsen, 2026).

Born in 1928, Joe spent much of his youth with his grandparents on a farm near Elkinsville, where he was brought up in an oral music tradition, learning fiddle tunes from his grandfather, Jasper Chambers, and songs from his grandmother, Ida Chambers (Larsen, 2026). 

More of Dawson’s performances can be heard on Media Collections Online in collection 15-007-F. In 2015, Bloomington-based musician, producer, composer, and recording engineer Grey Larsen donated more than 50 hours of Joe Dawson recordings he inherited and created himself while learning Joe’s repertoire and fiddle technique. Larsen’s projects also include the Lotus Dickey Songbook, Snow on the Roof, Fire in the Furnace, The Essential Guide to Irish Flute and Tin Whistle, and Cross the Water, among others. More information about Larsen’s work and Joe’s music can be found on Grey’s website.

See also:

Track 2

Moving onward to the next song in the lineup, we will listen to a ballad listed under the section “Traditional Songs and Ballads.” Similar to the play party songs, Neal records that ballads were widely enjoyed at social gatherings and “around the big fire-place” at home during the winter months (1926, p. 2). Along with the singing games, ballads would be all the more entertaining at home when a stranger or “news-carrier” stopped by, bringing new steps and songs. Due to their long, story-like nature, it is also easy to imagine why ballads were sought after before the mass entertainment industry took off in the 1920s. 

Social gatherings that specifically revolved around ballad singing as entertainment in the late nineteenth century were referred to as “singings” (Neal, 1926, p. 4). Like the play parties, these were performed without musical accompaniment. It wasn’t until the early twentieth century that it became popular to add instruments such as guitar and even the “wicked” fiddle to the mix, becoming known as “music parties.” It apparently was much easier for “timid singers” to start off a song with musical accompaniment, as they didn’t have to worry about embarrassing themselves if they set the incorrect pitch. The “music parties” gained wide acclaim among young people and incorporated dancing. 

Alan and Elizabeth Lomax, circa 1938 (Source: Library of Congress American Folklife Center, 2015).

“Barbara Allen,” according to Neal, is one of the “most widely known of all the Old World songs in America” (1926, p. 171). This has certainly held true to this day, with commercial recordings being made by an array of artists like Bradley Kincaid, Merle Travis, Jean Ritchie, Joan Baez, the Everly Brothers, and so on. It is one of several local variants in Neal’s collection documented by Francis James Child in his canonical corpus of English and Scottish Popular Ballads. Neal’s Brown County variant closely resembles texts included by Child collected in Britain (Child 84).

To this day, it enjoys wide dispersal in North America, England, Scotland, and Ireland, with Steve Roud and Julia Bishop claiming it as “far and away the most widely collected song in the English language” (2012, p. 406). Below, let’s listen to Oscar “Doc” Parks of Deuchars, Indiana, sing his version, a rendition that must be close to what it would’ve sounded like at an old “singing.” Recorded by Alan and Elizabeth Lomax on April 6, 1938.

Oscar “Doc” Parks sings “Barbara Allen” (1938) [54-155-F]

This powerful, unaccompanied version sung by Parks differs considerably from Neal’s version textually, including verses that explain Barbara Allen’s scorn towards the dying man, Sweet William, in Parks’ version, or Jimmy Groves in Neal’s. While they tell the same story, it goes to show the adaptability and malleable nature of traditional song, especially in long ballads, where, depending on the performing context, lines were open to improvisation and localization. Notably, in Parks’ version, “green buds” become “redbuds,” indicative of the trees associated with spring in southern Indiana (List, 1991, p. 287).

Sudie Summers Parks and Oscar “Doc” Parks, 1968 (Source: List, 1991, p. 53).

Parks was born in 1892, near Rose Hill in Virginia, but grew up in Livingston, Kentucky, where he accumulated a large bag of “ballads, lyric songs, and ditties, and his classic highlands singing style from his father,” John Wesley Parks (Dunford & Rosenbaum, 1964, p. 3). Sometime before 1938, Parks moved to Crawford County, where he was recorded by Alan and Elizabeth Lomax. Alan wrote of Parks, “He is certainly the most vigorous folk singer that I encountered in Indiana” (List, 1991, p. 31).

Alan and Elizabeth Lomax’s two-week recording trip through southern Indiana represents the earliest known field recordings made of traditional music in Indiana (IU Libraries, 2020). With guidance from Paul Brewster, an IU alum who was collecting the text of songs and ballads by mail, the Lomaxes recorded the performances of over 40 informants, documenting ballads, play party songs, hymns, fiddle tunes, and folk songs, among others. Recordings were made on lacquer discs, using a Presto instantaneous disc machine (List, 1991, p. 11). At this point in his career, Alan had been recently appointed First Assistant in Charge at the Archive of American Folk Song of the Library of Congress (IU Libraries, 2020). 

See also:

Track 3

Next on the docket, we will look at another ballad listed under the section “Traditional Songs and Ballads.” “The Boston Burglar,” also known to Neal as “The Charleston Burglar,” is a British ballad with wide distribution across the United States, England, and Ireland that warns of the tragic price of crime (1926, p. 172). This ballad seems to be a magnet for localized titles, appearing as both “The Boston Burglar” and “The Portland Burglar” in Lomax’s Indiana collection.

Numerous American old-time string bands released versions of the song commercially throughout the 1920s and 30s, including Fiddlin’ John Carson in 1925 and Riley Puckett in 1926. The Hickory Nuts performed it as “The Louisville Burglar” in 1927. Subsequently, in 1960, the New Lost City Ramblers cut a version of the song, also entitled “The Louisville Burglar.” Below, let’s take a listen to the Easy Street String Band of Bloomington, Indiana, do a driving rendition of “The Louisville Burglar.” Recorded by Paul Tyler on February 2, 1980. 

The Easy Street String Band plays “The Louisville Burglar” (1980) [80-073-F ]

The Easy Street String Band, date unknown. From left, Teri Klassen [guitar], Brad Leftwich [banjo], Bob Herring [fiddle], Mark Fedderson [bass], and Frank Hall [fiddle] (Source: Bealle, 2005, p. 150).

The ensemble sound and harmony of this version played by the Easy Street String Band harkens back to the old-time country 78s, like the ones mentioned above. The Easy Street String Band is a hallmark group of the Old-Time Music and Dance Revival in Bloomington that flourished throughout the 1970s and 80s. The group consisted of Frank Hall on fiddle, Bob Herring on fiddle, Mark Fedderson on bass and guitar, Teri Klassen on guitar, and Randy Marmouzé on five-string banjo.

The group was formally established around 1978, but had been casually playing together in some form or another since 1975 (Tyler, 1980, 80-073-F). Their repertoire grew out of the LP reissues of Charlie Poole, the Skillet Lickers, Burnett & Rutherford; records by Tommy Jarrell, the Highwoods Stringband; and from whoever they would meet locally or at festivals such as the Indiana Fiddlers’ Gathering in Battle Ground, Indiana. They also learned tunes from Bloomington-based artists Garry Harrison, Jeff Claus, Judy Hyland, David Molk, and Miles Krassen. 

Paul Tyler, also known as “DrDosido,” has collected voraciously before, during, and after his time as a student of ethnomusicology at IU, earning his M.A. in 1982 and his Ph.D. in 1992 (Tyler, n.d.). Among his works are his dissertation entitled “‘Sets on the Floor’: Social Dance as an Emblem of Community in Rural Indiana,” a radio program produced for WIPU-Fort Wayne. “Indiana Hoedown: Traditional Music from the Hoosier State,” the documentary album Lotus Dickey, Fiddle Tunes from Orange County, Indiana, and an album produced for the ATM, Ethnic Music in Northern Indiana, among other projects. You may learn more about Tyler’s projects and the members of the Easy Street String Band at the ATM or Tyler’s website.

See also:

Track 4

For the next song in the playlist, we will listen to another play party, this time one that typically accompanied steps. Neal describes “Weevily Wheat” as originating from the “Virginia Reel” (1926, p. 166). Below, let’s listen to 74 year old Abraham Lincoln Gary of Rushville, Indiana sing his version of “Weevily Wheat.” Recorded in Bloomington by Herbert Halpert on April 13, 1942.

Abraham Lincoln Gary sings “Weevily Wheat” (1942) [54-215-F ]

Abraham Lincoln Gary, 1955. (Source: List, 1991, p. 53).

 During the recording, Gary gives incredible context to the song that correlates closely to what Neal observes about play party songs and the informal gatherings that were popular among young people, also briefly describing what figures for the game looked like. Later in the recording, Gary also expands on why it was objectionable to include fiddles at music gatherings, citing the belief that “it was the devil that was in the fiddle.”  

Herbert Halpert, a renowned folklorist who described himself primarily as a folktale scholar, started his graduate studies focusing on childlore and folksong collecting (Halpert, 1992, p. 442). After a chance encounter with his former English teacher, Mary Elizabeth Barnicle, and Alan Lomax in the 1930s, Halpert developed an interest in field recordings (p. 443). While studying at Columbia University, Halpert was also influenced by Ruth Benedict and George Herzog, learning “an enormous amount about collecting folksongs in context” from Herzog (p. 444). Herzog continued to encourage Halpert’s research interests and persuaded Stith Thompson to invite Halpert to IU for doctoral studies in English in 1940, where he continued folksong studies and became interested in folktales (p. 452).

See also:

Track 5

The next track is another song collected as a play party, entitled “The Girl I Left Behind Me.” According to Neal, the melody may originate from an English fife composition which could have “developed from a folk-tune used as a sword dance” (1926, p. 168). While the tune is still used in Morris and sword dance today in England, its origins are unclear, with sources in Ireland, England, and the United States making conflicting claims (The Traditional Tune Archive, 2026). The lyrics Neal transcribes are primarily dance step calls (p. 28). Below, let’s return to Joe Dawson and hear him fiddle and sing “The Girl I Left Behind Me,” accompanied on guitar by Grey Larsen. Recorded by Larsen on July 17, 2003.

Joe Dawson plays and sings “The Girl I Left Behind Me” (2003) [15-007-F]

Joe’s fiddle rendition of the tune shares the same melody as Neal’s, while his text differs. The tune seems to invite improvisation and adaptation as Joe himself sang several different versions of the song, one being similar to the lyrics associated with “Devilish Mary.” The lyrics sung here hint at a risqué punchline.

See also:

Track 6

Next, let’s listen to another version of “Barbara Allen,” sung by 71-year-old Homer Birge of Lebanon. It may sound familiar! Recorded by Paul Tyler on April 17, 1980.

Homer Birge sings “Barbara Allen” (1980) [80-109-F]

Lotus Dickey, Paul Tyler, John Bealle, and Teri Klassen, circa 1984 (Source: Bealle, 2005, p. 288).

Homer Birge’s version unmistakably transposes the text of “Barbara Allen” onto the melody attached to “The Girl I Left Behind Me,” further demonstrating its vitality. You may also hear Homer sing the version he learned from his mother, in which he uses the melody more commonly linked to the ballad. Born in Kentucky, Birge moved to Indiana when he was six years old and learned many of his songs from his mother. In an interview with Paul Tyler from the recording above, he also recalled hanging out with two friends, in which they often would hop into a Model T Ford to drive to a park and sing together, none of them knowing how to play an instrument.  

See also:

Track 7

The next track we’ll listen to is the ballad, “Charles Guiteau,” which Neal claims is of unknown origin and based on the assassination of President James Garfield in 1881 (1926, p. 173). George List suggests that the song was derived from an earlier model collected in the 1870s, concerning a “John T. Williams” (1991, p. 363). It follows in the tradition of broadside ballads being written about murders, disasters, and other tragedies (Place, p. 43, 1997). Let’s listen to The Pigeon Hill Boys of Bloomington execute a spirited rendition, recorded by the IU Folksong Club on October 25, 1963.

The Pigeon Hill Boys play “(My Name is) Charles Guiteau” (1963) [66-138-F]

The Pigeon Hill Boys, 1963. From left, Chuck Crawford [mandolin], Neil Rosenberg [banjo], Fred Schmidt [bass], Mayne Smith [guitar] (Source: Bluegrass Today, 2025).

The Pigeon Hill Boys’ driving, bluegrass performance of the ballad follows the first verse of Neal’s while adding a stanza about Guiteau’s failed insanity plea. This recalls the sensational aspect of the trial at the time, in which debates raged over how the law should address mental health (List, 1991, p. 363). 

The Pigeon Hill Boys took their namesake from the neighborhood on the west side of Bloomington, where band member Jim Neawedde lived (Rosenberg, 2018, p. 81). Early combinations of the group consisted of Neil Rosenberg on banjo, Tom Hensley on bass, Mayne Smith on guitar or dobro, and Jim Neawedde (p. 97). Rosenberg and Smith studied folklore at IU and also spent time playing at the Brown County Jamboree, later re-established as the Bean Blossom Bluegrass Festival. There, Rosenberg made numerous recordings of well-known performers, now deposited at the ATM, including Bill Monroe, Sam and Kirk McGee, and the Stanley Brothers.

The IU Folksong Club was established in 1962, born out of the burgeoning campus folk scene that included the Phase Three coffeehouse, a radio show started by Bruce Buckley, and student-held “hootenannies.” (Bealle, 2005, p. 6). Rosenberg taught five-string banjo through the club’s workshops, and Smith was elected vice-president and later club president after the club’s first president, Joe Hickerson, graduated (Rosenberg, 2018, p. 124). In addition to workshops, the club sponsored performances by nationally recognized artists such as the New Lost City Ramblers, the Stanley Brothers, Reverend Gary Davis, Skip James, Yank Rachell with Shirley Griffith, and Pete Steele with Lillie Steele, among others, until it discontinued in 1967 (Bealle, 2005, p. 8).

Track 8

Phoebe Stoker Elliott, date unknown. (Source: List, 1991, p. 52).

Moving forward, let’s look at the last singing game featured in this playlist, “Here Comes Four Dukes A-Riding.” Neal describes this song as a widely distributed “traditional, child’s game imported from England” (1926, p. 170). British folklorist, Alice Bertha Gomme, in 1898 documented several variants from sources in England and Isle of Man in volume two of her major work, The traditional games of England, Scotland and Ireland (p. 233-254). Here, let’s listen to Phoebe Elliot of New Harmony sing her version, which she calls “Ransum-Tansum.” She learned it in 1865. Recorded by Alan and Elizabeth Lomax in New Harmony on March 10, 1938.

Phoebe Elliot sings “Ransum-Tansum” (1938) [54-155-F]

While Elliot’s version includes no mention of dukes, it roughly corresponds to Neal’s second and third stanzas, albeit shorter (List, 1991, p. 65). Also, the nonsensical “tansy-tansy-tee” of Neal’s becomes “ransum, tansom, tiddimus day” in Elliot’s. The description of the accompanying game is brief, but states that the game started with a boy and a row of girls standing across from each other, in which dialogue was exchanged between the two sides. Referencing Neal’s text, it can be assumed that the boy would likely have started the game as a duke. Another Indiana source from Paul Brewster suggests that as the game progresses, the boy would select a member of the opposite group upon singing the last verse, in which a girl would join the boy to become two dukes a-riding and continue likewise until everyone changed places (List, 1991, p. 65).

Track 9

For the next track, we return to another Child ballad popular in America. Neal’s “The House Carpenter (The Deamon Lover)” is a variant of Child 243, The Daemon Lover, known in America by a variety of titles, including “The Distressed Ship Carpenter,” “James Harris,” “The Salt, Salt Sea” (Neal, 1926, p. 173). Regarding textual variations between earlier versions collected by Child and later Indiana variants, George List points out that verses which explained the existing relationship between the woman and the mariner were lost as the ballad was transmitted (1991, p. 290-291). As it passed from performer to performer, it gradually shed more of its complex and colorful story elements that were once common, like the reveal that the seaman is actually the devil or a vengeful spirit, who returns to the woman after she broke her wedding vows when she married the carpenter. Let’s listen to the two-time mayor of Bedford, Albert Jeremiah Fields, sing his salty account of the mariner and the woman who married the house carpenter. Recorded by Bruce Buckley and Bruno Nettl on August 7, 1954, in Bedford.

Albert J. Fields sings “The House Carpenter” (1954) [54-060-F]

Albert Jeremiah Fields, unknown date. (Source: List, 1991, p. 53).

 While not matching word for word, Fields’ text follows the same broad strokes as Neal’s and other versions of the ballad collected in Indiana, in which the past relationship between the mariner and woman is not clarified and supernatural elements are omitted (List, 1991, p. 291). A notable difference between the two variants can be observed in the third stanza, in which “banks of sweet Lily” replaces “banks of Italy.”

Albert Jeremiah Fields was born in Lawrence County in 1879, in a log house that was constructed in 1817. (List, 1991, p. 25). The house is currently owned and stewarded by Spring Mill State Park. While no documentation exists of where he obtained his songs, Fields was likely raised in the oral ballad tradition typical of the Upland South. After graduating from Law School at IU in 1914, he was elected mayor of Bedford in 1910 and 1914. He is credited with installing Bedford’s first modern water purification plant and the city’s first park. 

George Herzog and Bruno Nettl, 1950 (Source: IUB Archives, 2025).

Bruce Buckley received his Ph.D. in Folklore in 1962, his dissertation entitled “Frankie and Her Men: A Study of the Interrelationships of Popular and Folk Traditions” (Cooperstown Graduate Program, n.d.). As a student, he performed with the campus group the Settlers, also consisting of Elen Stekert and Joe Hickerson. In 1955, he released an album on Folkways, Ohio Valley Ballads, becoming perhaps the earliest IU affiliate to do so.

Bruno Nettl obtained his Ph.D. in Musicology in 1953. As a student, he worked closely with George Herzog and was employed as an early graduate assistant at the ATM (McDonald, 2020). He later served as President of the Society for Ethnomusicology from 1969 to 1971 and is fondly remembered for his influential works, such as Folk Music In The U.S.: An Introduction, Blackfoot Musical Thought: Comparative Perspectives, and The Study of Ethnomusicology: Thirty-Three Discussions.

See also:

Track 10

The last song in the lineup is the cruel ballad, “The Two Sisters.” It dates back to 1656 in England (MILLER AND THE KING’S DAUGHTER, THE, 2024). According to Neal, it corresponds with Child 10 and is sometimes referred to as “There was an Old Man of the North Countree” or “The West Countree” (1926, p. 172). In our songlist, we will hear Joe Hickerson perform a disarmingly sweet rendition, accompanying himself on guitar. Recorded on October 25, 1963, by the IU Folksong Club.

Joe Hickerson sings “The Two Sisters” (1963) [66-138-F]

Joe Hickerson, 1958 (Source: IUB Archives, 2024).

Earlier in the recording, Hickerson humorously talks about the changing popular definitions of folk music, with two major genres emerging, “hill folk” and “hill,” with the former meaning songs collected by collectors and folklorists, and the latter as songs recorded by commercial record companies. He identifies “The Two Sisters” as belonging to “hill folk” material, but does not reveal who he learned it from. He possibly could have acquired it from the ATM or the Folklore Archives at IU. Interestingly, his version includes the verses about the miller and the older sister’s comeuppance, while Neal’s does not.

Hickerson studied Folklore at IU from 1957 to 1963, where he was also elected president of the IU Folksong club and performed with the campus group, the Settlers, with Ellen Stekert and Bruce Buckley (Wilson, 2025). After graduating, he worked as a reference librarian at the Library of Congress before being appointed Director of the Archive of Folk Song at the American Folklife Center, serving from 1974 to 1998.

See also:

Conclusion

In the preface to her collection, Neal writes that it was her aim “to preserve the songs in their traditional form for the future lovers of folk-lore” (1926, p. 1). While the variants we looked at in our 10-song sample perhaps proved that traditional music is ever-changing, it’s thanks to collectors like Neal that comparisons can be made in the first place. Neal also hoped that there “may come a revival of interest among young people toward further research in traditional folk-lore” (p. 1). It’s easy to say that within the last 100 years, she has not been let down.

References

Almqvist, B. (1977). The Irish Folklore Commission: Achievement and Legacy. The Journal of the Folklore of Ireland Society.

Annotation:Girl I Left Behind Me (1) (The). (2026). The Traditional Tune Archive. Annotation:Girl I Left Behind Me (1) (The) – The Traditional Tune Archive

Bealle, J. (2005). Old-time music and dance: Community and folk revival. Indiana University Press.

Brewster, P. (1935). Traditional ballads from Indiana. The Journal of American Folklore 48(190).

Cooperstown Graduate Program. (n.d.). The Cooperstown Graduate Program. State University of New York at Oneonta. https://www.oneonta.edu/academics/cgp/folklife/preservation_4.html 

Dunford, P., Rosenbaum, A. (1964). Fine times at our house: Indiana ballads, fiddle tunes, songs. Smithsonian Folkways. https://folkways.si.edu/fine-times-at-our-house-traditional-music-of-indiana-ballads-fiddle-tunes-songs/american-folk-old-time/album/smithsonian 

FamilySearch. (2026). Mabel Evangeline Neal. FamilySearch. https://ancestors.familysearch.org/en/M54M-LXC/mabel-evangeline-neal-1890-1952

Gomme, A. B. (1898). The traditional games of England, Scotland and Ireland : with tunes, singing rhymes and methods of playing according to the variants extant and recorded in different parts of the kingdom, Vol. II. David Nutt. The traditional games of England, Scotland and Ireland : with tunes, singing rhymes and methods of playing according to the variants extant and recorded in different parts of the kingdom : Gomme, Alice Bertha : Free Download, Borrow, and Streaming : Internet Archive

Hall, S. (2015). Songs for Christmas and the New Year collected by Alan Lomax. Library of Congress Blogs. https://blogs.loc.gov/folklife/2015/12/songs-for-christmas-collected-by-alan-lomax/

Halpert, H. (1992). Coming into folklore more than fifty years ago.  The Journal of American Folklore 105 (418).

Indiana University Bloomington Libraries, Archives of Traditional Music. (2020).  Indiana Collections at the Archives of Traditional Music. Indiana University. https://guides.libraries.indiana.edu/in-at-atm  

Indiana University Bloomington Libraries, Archives of Traditional Music. (2019). Archives of Traditional Music Collection Development Policy. Indiana University Libraries. https://libraries.indiana.edu/atm-collection-development

Joe Hickerson [photograph]. (1958). Indiana University Archives Photographic Collection, Bloomington, IN, United States. https://webapp1.dlib.indiana.edu/archivesphotos/results/item.do?itemId=P0116349&searchId=48&searchResultIndex=2

Larsen, G. (2026). Joe Dawson. Grey Larsen. https://greylarsen.com/resources/joe-dawson/

List, G. (1991). Singing about it: Folk song in southern Indiana. Indiana Historical Society.

McDonald, D. (2020). Bruno Nettl. Department of Folklore and Ethnomusicology. https://folklore.indiana.edu/alumni-giving/newsletter/traditions-2025/memorium/nettl.html 

MILLER AND THE KING’S DAUGHTER, THE. (2024). Vaughn Williams Memorial Library, London, United Kingdom. https://archives.vwml.org/songs/RoudFS/S407108

Milovsoroff, A. (1963). Pigeon Hill Boys at Purdue, March 1963. Chuck Crawford, Neil Rosenberg, Fred Schmidt, Mayne Smith [photograph]. Bluegrass Today. https://bluegrasstoday.com/mayne-smith-passes/

Neal, M. E. (1926). Brown County songs and ballads: Collected and annotated. [Master’s thesis, Indiana University]. HathiTrust. https://catalog.hathitrust.org/Record/006810601

Photographic services. (1950). George Herzog (left) and his student assistant Bruno Nettle with a Chinese panpipe [photograph]. Indiana University Archives Photographic Collection, Bloomington, IN, United States. https://webapp1.dlib.indiana.edu/archivesphotos/results/item.do?itemId=P0084151&searchId=47&searchResultIndex=1

Place, J. (1997). Anthology of American Folk Music. Smithsonian Folkways. https://folkways.si.edu/anthology-of-american-folk-music 

Rosenberg, N. (2018).  Bluegrass generation: A memoir. Illinois Press. 

Roud, S., Bishop, J. (2012). The New Penguin Book of Folk Songs. Penguin.

Sloan, H. (2025, September 23). The Archives of Traditional Music: Infinite stories, told and untold. Indiana.edu.https://blogs.libraries.indiana.edu/collections/2025/09/23/the-archives-of-traditional-music-infinite-stories-told-and-untold/

Tyler, P. (n.d.) About Dr.Dosido. DrDosido. https://drdosido.net/drd20/about.html

Wilson, A. (2025). ATM Tribute to Joe Hickerson. Indiana University Libraries. https://blogs.libraries.indiana.edu/atm/2025/11/05/atm-tribute-to-joe-hickerson/

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