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French-Canadian Folk Music
1
French Canadian Folk Music
Annabelle Brault
University of Windsor
Annabelle Brault is a second year music therapy student at the University of Windsor.
Born and raised in Quebec, she attended high school and Cégep in French educational
institutions where multicultural and community involvement were predominant.
Accordingly, she participated in a cultural immersion program in West Africa for a three-
month period as part of the social sciences program of the Cégep Marie-Victorin. At the
completion of her DEC, Annabelle returned to West Africa and conducted her own
humanitarian project in a center for disabled children. Her work as a French monitor and
promotion agent of bilingual Canadian culture in a small community in the Canadian
Northwest Territories motivated her to begin training in music therapy.
Acknowledgement
The French-Canadian Lullabies Project would have not been possible without the
support and help of the following individuals and groups: Dr. Bloom for the provision of
voice lessons and precious insight about the interpretation of folk repertoire; Dr. Lee for
his knowledge in arranging and composing; The World Federation of Music Therapy
(WFMT), who promote the wonderful and essential profession of music therapy and for
whom this project was conducted, and Dr. Clements-Cortes for her trust and support in
all of my education and personal development, and for her complete devotion to our
music therapy program at the University of Windsor and Music Therapy domain around
the world. Finally, I want to say thank you to my parents who transmitted me the pride
and love of my culture, especially my mom who rocked me with those songs filled with
the history of my country and its people.
French-Canadian Folk Songs
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Abstract
This essay provides an overview of French-Canadian lullabies and folk music,
including information about major influential cultural groups, folk song collections, and
an analysis of selected lullabies and folk songs.
Folk songs are the product of unknown creators that performed alone or in a
group, in order to share in a very intimate way of everyday life. They are transmitted
orally from generation to generation. The three major groups of influence on French-
Canadian folk music are French, English and Gaelic. Those cultures influenced the
genres, the accompaniment instruments, the structure and even the lyrics of the French-
Canadian folk music. This complex world inspired many collectors of folk songs, such as
Marius Barbeau, a Canadian icon on the anthropology and folkloric international scene.
French-Canadian folk lullabies are a tradition of love and peace, and they lulled
thousands of infants and mothers. Other folk songs also have been used as lullabies,
telling the story of our ancestors’ everyday life challenges. The way settlers and their
descendants have made those songs truly Canadian and representative of our own special
reality is remarkable.
“An old song is a song ever young…” Poston & Arma, 1972.
French-Canadian Folk Songs
3
TABLE OF CONTENTS
About the author 1
Acknowledgement 1
Abstract 2
Introduction 6
PART 1: FOLK MUSIC: DEFINITION AND SPECIFICATIONS
Definition and categorization of folk music 8
Folk music vs. Modern music 9
PART II: FRENCH-CANADIAN FOLK MUSIC
Canada: A multicultural country since the very beginning 14
French Canadian Folk Music and its influences 14
The collectors of French folk songs in Canada 17
PART III: FRENCH-CANADIAN LULLABIES AND OTHER FOLK SONGS
Lullabies: The most personal of all folk songs… 22
Examples of French-Canadian lullabies 23
Other folk songs that can be used as lullabies 25
Conclusion 30
List of appendices
Appendix A 32
Appendix B 33
Appendix C 34
Appendix D 36
Appendix E 37
Appendix F 38
Appendix G 39
Appendix H 40
Appendix I 41
Appendix J 42
Appendix K 43
Appendix L 44
References 45
French-Canadian Folk Songs
4
Introduction
Most people remember lullabies their mother sang to them as babies, or even later
in their lives in moments of distress. Lullabies are powerful, and it is not a coincidence:
Because we are exposed to them in the early month of life and even before birth, lullabies
are engraved in our subconscious memory. Their “rocking meter and slower tempi […]
are conducive to relaxation, and the lyrics usually convey words of peace, comfort and
love” (WFMT, 2012). Lullabies are found in all cultures because they are part of the
intimate relation between a caregiver and an infant and they vary substantially throughout
the world.
In Canada, the most popular lullabies are from European countries to the
exception of some lullabies coming from the diverse aboriginal nations (Fowke & Green,
2012). It is important to mention that only a few of the native lullabies are well known
among the average Canadian, such as Ani Couni Chaouani, an Iroquois lullaby
(http://www.youtube.com/watch?v=yVGDHyw9IdY&feature=related). The great cultural
diversity in Canada can be observed in its folkloric history. Songs, tales and rituals
demonstrate the interactions between the diverse cultural groups present since the very
beginning (Klymasz, 2012). This essay will discuss French-Canadian folk music, its
influences, the collection of folk songs and some of the most known and appreciated
lullabies and other folk songs. There are three sections to this paper: First, the world of
folk music; second, French-Canadian folkloric cultural influences and the collectors of
folk songs; and finally, the analyses of a selection of French-Canadian lullabies and other
folk songs.
Part I: Folk Music – Definition and Specifications
Definition and Categorization of Folk Music
In his work, A folk song history of America, Forcucci (1984) describes folk songs
as “the songs of the people” (p.16). Those songs are creations of one or more individuals,
and the creative process can be collective, individual, or a mixture of both. It is the use
of human expression in order to describe one’s way of life (Forcucci, 1984). Because the
purpose of folk song is to describe human experiences, it is not surprising that a variety
of folk songs exist. Perhaps there is no consensus in how folk song should be categorized
among cultures, but here are some examples of the different types of folk songs: work
songs; love songs; drinking songs; cradle songs; play songs; songs of mourning, etcetera.
Respectively, Poston & Arma (1972) in The Faber book of French folk songs organized
the folk repertoire according to the categories shown in the following table: Categories of folk songs
Marching songs
Love songs (such as À la Claire Fontaine)
Songs of Marriage
Lullabies (such as Fais dodo)
Children’s song
Action songs (such as Nous n’irons plus au bois)
Work songs
French-Canadian Folk Songs
5
Sailors songs
Songs of season and occasion
Christmas songs
Drinking songs
Songs of history
Funny songs.
The way folk songs are created or categorized varies, but the way they are
transmitted is almost always the same: It is “passed on from person to person, group to
group, generation to generation” (Forcucci, 1984, p.16). How folk songs are transmitted
directly impacts the songs themselves: Because folk songs are orally transmitted, they are
easy to modify and to adapt to one’s personal taste and/or to a particular situation.
Moreover, when the songs are sung, some words or part of the tune can be misheard or
forgotten. Therefore, folk songs are not fixed in time; they evolve and change through
transmission. In the same way, folk songs “are ordinarily the product of an unknown
person or group of persons” (Forcucci, 1984, p.18). Altogether, folk songs are a way in
which people recount their everyday experiences and worries through their most intimate
instrument; their own voice.
Folk music vs. Modern Music
Above was a short simple definition of what folk songs are, but defining folk
music is more complex than that. In fact, people still use music as a way to express
themselves. But why is their music not considered folk music? In order to understand
this, the differences between modern music and folk music will be explored.
Purpose of the Compositions
Folk songs are very personal and are particular to a region or to a people. In fact,
folk songs might include specific speech patterns or expressions that are specific to a
language or even a dialect. For example, the Jouale in Quebec or the Chiac in New
Brunswick are dialects proper to those geographical ensembles. (Forcucci, 1984)
Moreover, the lyrics of a song might recount a historical event or a distinct way of life
(Forcucci, 1984). For instance, there is a whole part of the Canadian folk music repertoire
about the coureur des bois (fur traders). This is a very important part of the Canadian
history that a person from another part of the world might not be aware of.
Consequently, it is sometimes difficult for a foreign person to relate to the folk music of
another country or nation, as he/she might not have the emotional attachment or the
historical knowledge that is carried in the lyrics of the song. Therefore, folk songs are
intimately related to the place where they were composed, which differs significantly to
modern music which a larger majority of persons can relate.
The Folk Singer: the Spontaneous Creator vs. the Skilled Composer
One of the most important differences between modern music and folk music is
how the songs are composed. Folk songs are the product of the everyday person: Any
creative person could have been the creator of the folk songs we still sing today. The
greatest quality of folk composers is their ability to capture an anecdote and match it with
a simple melody that can be sung by everyone (Forcucci, 1984). Similarly, folk songs are
French-Canadian Folk Songs
6
simple in structure and meaning; they touch subjects that are closely related to everyday
life. In contrast, modern composers are often very skilled musicians who have mastered
the complex language of music and its technologies and share universal and abstract
ideas through their music(Forcucci, 1984). Moreover, albums of these modern composers
are the result of thousands of hours of work. Another difference lies in the performance
of the two types of music (Forcucci, 1984). Folk songs are mostly improvised or
modified during performance while modern music is generally rehearsed before being
performed in public. Perhaps we can think of jazz music in which improvisation is
common. Again, the musicians alone or together rehearse the improvisations prior to
performance, even though the improvisation is different every time performed. Put
differently, folk music is a realistic recount of everyday life experiences with the use of
simple melodies, while modern music can express other ideas through planned musical
arrangements. Folk music is spontaneous and not musically notated beforehand, in
opposition to modern music which is usually notated before being performed.
Choice of Accompaniment
Another major difference between modern music and folk music is the kind of
accompaniment used. As mentioned earlier, folk songs are simple in their structure and
matter (Forcucci, 1984). Therefore, it is not surprising that they are also simple in their
choice of accompanying instruments. For instance, folk singers generally accompany
themselves with less formal instruments such as the guitar, the banjo, the accordion, the
piano, or the violin. Furthermore, most folk songs were accompanied by very few or no
instruments (“Folk Music”, 2012). This differs substantially from modern music in which
the use of larger musical ensembles is extremely common, thus enabling a composer to
create more complex harmonies and elaborate textures.
Technology and its Influence on Transmission
Methods of music transmission have undergone a major change in the past
decade. In fact, the development of online services has transformed the musical industry.
Online-music–downloading corporations such as iTunes are now a crucial part of the
music market. This is in complete opposition to the way folk songs are often transmitted.
Indeed, folk songs are mainly transmitted by human contact, and more often during
communal gatherings (Forcucci, 1984). It is interesting that the transmission of music
once depended on social interaction, while now, even the simplest social interaction such
as going to the music store is no longer necessary. And yet, music from all around the
world has never been so accessible.
Performance Settings and Interpretation
Lastly, the interpretation and performance settings of folk music contrast with
those of modern music. The proximity in which folk songs are shared with the audience
differs from the mega stadiums in which the most famous modern musicians perform.
Even though more intimate settings still exist today such as “open mic nights” or fire
camp singing, the performance scene is more organized, implying a greater distance
between the listener and the artist. This has an impact on the audience’s interpretation: It
is easier to express sadness to a person sitting next to you, than to the person sitting in the
very last row of a 50 000-capacity stadium. Therefore, the intimate performance setting
French-Canadian Folk Songs
7
of folk songs differentiates them from modern music because it impacts the interpretation
of the performer and enhances the intimacy between the listener and the artist. Below is a
table containing the main generalizations about folk songs established by Mr. Forcucci
(1984) in his book A folk song history of America (p.18).
What are folk songs: Generalizations
1. Folk songs represent the musical expressions of the common people 2. These songs are not composed in that they are not the works of skilled, tutored musicians. It is more accurate to say that they have been created rather than composed. 3. There songs are ordinarily the product of an unknown person or group of persons. 4. The words or lyrics of folk songs are usually colloquial in nature to reflect the speech pattern and expressions of a particular people or region. 5. These songs are highly “singable”, primarily because they were first presented with the singing voice rather than having been written down in musical notation beforehand. 6. Folk songs are simply structured, both musically and verbally. It is their naiveté that gives them their charm. 7. These songs can be effectively performed without instrumental accompaniment. When they are accompanied, a less formal instrument (such as the guitar, banjo, accordion, dulcimer, or Autoharp) is considered appropriate. 8. Folk songs are indigenous to a particular region or people because they reflect the musical/verbal preferences of that people in their materials.
Part II: French-Canadian Folk Music
Canada: A Multicultural Country From the Beginning
Folk music is a window into a specific population and its territory. Canada, being
the third biggest country of the world and “one of the most ethnically diverse nations in
the world” (Ministry of industry, 2003, p.1), has many different cultural groups to
consider when assessing their music and lifestyles. In fact, even before the arrival of the
Europeans and other immigration groups, there were over 80 Aboriginal nations of inthe
Canadian territory. Still today, the Aboriginal people contribute significantly to the
cultural diversity of our country, “currently, there are 615 First Nation communities,
which represent more than 50 nations or cultural groups and 50 Aboriginal languages”
(AADNC, 2010, First Nations). The arrival of the Europeans and other immigration
groups added to the already culturally diverse Canada. The interaction between those
cultural groups is also present within the Canadian folk music. Below is an exploration of
the most influential cultural groups on French-Canadian folk music, as well as some of
the most influential figures in the French-Canadian folkloric studies.
French Canadian Folk Music and its Influences
There are three main cultures of influence in French-Canadian folk music: French,
English and Gaelic. There are also many other minor influences including the Irish and
German cultures. This essay will be limited to the three major influences as well as the
two minor influences named above.
French-Canadian Folk Songs
8
French
Since the first French settlers in the 16th
and 17th
centuries, French colonists have
brought their customs, language and music to what is today known as Canada. It is
therefore not surprising that the most important influences on French-Canadian folk
music come from France. For example, the most common instrument in French-Canadian
folk music, the fiddle, was brought from New France (Deschênes, 2012, Franco-
Canadian Folk Music). Also, some of the most popular French-Canadian folk songs are
derivations of medieval French traditions brought over by the early colonists.
Interestingly, even the older versions found in the Canadian folkloric repertory of the folk
songs originated from France and are more elaborate than any other versions found in
France. At the same time, there are some songs that are more recent and that were
composed to paint the reality of the colonist life in New France. Those songs were called
laments, and they reflected the social conditions of the French-Canadian communities
(Deschênes, 2012, Franco-Canadian Folk Music). Subjects such as “the life of the
voyageurs, the lumber camps, disasters and misfortunes, and political and communal life”
were addressed in those songs (“Folk Music,” 2012). Acadian communities have a rich
repertory of those lament songs, which correlate with their difficult past influenced by the
deportation of 1755–1763.
English
The influence of English culture on French-Canadian Folk music is more subtle,
but certainly important. In fact, even if French and English colonists were not exactly
best friends, they still interacted with each other. Moreover, they had much more in
common than what they realized, including the way they arrived to Canada and their
reasons for coming. This is why both French and English Canadian folk songs share
lyrics about the sea and the sailors, the fishermen, sea disaster, lumbering, mining and
other aspects of the colonist’s daily life (“Folk Music,” 2012).
Gaelic
The Gaelic, Celtic music influence was certainly beneficial to French-Canadian
folk music. Donald Deschênes (n.d.) explains, “while retaining some characteristics of
the country of origin, French-Canadian folk music has become freer and more lyrical, and
has adapted to the rigors of the country and the Latin temperament of its inhabitants”
(2012, Franco-Canadian Folk Music). The greatest influence of Celtic music to the
French-Canadian folk music is the use of Ballad genres. Ballads cover an immense time
span from the medieval period to the 20th
century, and the universality of the topics
addressed certainly contributes to that fact. Love, war, heroic exploits, revenge, murder,
disasters, etc. are themes to which people relate to. Another characteristic of the ballad
genres is the narrative aspect of its lyrics. As French-Canadian folk music recounts their
reality, narrative texts are appropriate and useful. A related example to the impact of
Celtic music is the work of Jean Carignan. Mr. Carignan was of major influence in the
Celtic tradition in French Canadian fiddling. Reel de Lévis
http://www.youtube.com/watch?v=P5XyB4csrgE, a traditional Québec reel, is one of his
most known pieces (Deschênes, 2012).
French-Canadian Folk Songs
9
Other Influences
French, English and Gaelic cultures have had the most influence on French-
Canadian Music. There are still two influential cultural groups that should be mentioned
in this part of the essay. First, let’s observe the impact of Irish music on Canadian folk
music. Irish music is a very important part of traditional Canadian music and has a major
influence in the east coast of Canada. Newfoundlanders still celebrate proudly the
musical repercussion of the Irish migration to Canada: Hundreds of Irish songs still
popular today date from the Irish famine of the 1840s, which forced migration of Irish
people to North America. Even if the first example concerns the Anglo-Canadian folk
music, it is also possible to see the Irish influences in French-Canadian folk music. For
example, one type of Quebec folk songs called the Rigodon (originated from the south-
east of France) incorporated numerous instruments as opposed to a soloist, according to
the Irish musical style. Instruments such as the harmonica, the violin (fiddle), diatonic
accordion, wooden spoon and foot percussion (originating from Ireland) are used
simultaneously in this particular style (“Folk music,” 2012). Related is the origin of the
instruments named above.
With the exception of the fiddle that originates from France, the other instruments
are the contribution of the Germanic culture. For example, the diatonic accordion arrived
from Germany at the end of the 19th
century and became a favorite instrument among
French Canadians. The harmonica also came from Germany through the United States in
the same time period and quickly became popular. Lastly, the Jew harp is another
characteristic instrument of the traditional music of French Canada (“Folk Music”, 2012).
Interestingly, this particular instrument originates from Asia, contrary to what the name
intends.
The Collectors of French Folk Songs in Canada
Due to the fact that folk songs can reflect the reality of the people of a certain
epoch and certain land, it is not surprising that many have dedicated their lives to
collecting those precious pieces of our national histories. Here are some of the most
influential collectors of French-Canadian folk songs. Below will begin with observing the
collectors that studied French Canadian folk songs broadly, and then the collectors that
worked on the folk song repertoires of specific French regions of Canada.
The study of French Canadian folk songs started with Mr. Henri Larue and its
publication of an article entitled "Les chansons populaires et historiques du Canada" in
Le Foyer canadien in 1863. It was a collection of popular and folk songs celebrated in the
Canadian homes in his time. In the same year, Mr. Ernest Gagnon collected and
transcribed tunes for some of the lyrics he had collected by Larue. In 1865, Gagnon
published a work entitled Chansons populaires du Canada with melodies and
commentary.
Similarly, it is impossible to talk about French folk songs without mentioning
Marius Barbeau. Bardeau was a worldwide acclaimed anthropologist and pioneer in the
fields of folk culture. He collected more than 10 000 songs which are preserved in the
Canadian Museum of Civilization (Rogers, 1983, p.17). Marius Barbeau was a
French-Canadian Folk Songs
10
productive author: the Canadian Museum of Civilization has acknowledged more than
1,700 publications, from newspaper articles to monographs. Here are some examples of
his books on traditional songs: Romancero du Canada (1937); Jongleur Songs of Old
Quebec (1962); Le Rossignol y chante (1962), and etc. Because of his complete
dedication to Canadian folk culture, Barbeau was recognized in 1985 as a "person of
national historic importance" by the Historic Sites and Monuments Board of Canada
(CCO, 2010, “Marius Barbeau”). Moreover, the highest mountain in the Canadian Arctic,
located on Ellesmere Island in Nunavut, was given the name "Barbeau Peak" in his
honour (CCO, 2010, “Marius Barbeau”).
Another very important man in Canadian folk culture studies is Mr. Conrad
Laforte. Mr. Laforte started classifying traditional songs of North America in 1954.
Between 1977 and 1987, he published the Catalogue de la chanson folklorique in 6
volumes, which contain more than 80 000 entries. In 1984, the Folklore Studies
Association of Canada awarded Laforte of the Marius Barbeau medal (FSAC, 2012).
In a more specific perspective, Father Anselme Chiasson and father Daniel
Boudreau have concentrated their effort on French folk songs of Acadia (mainly the
New-Brunswick portion). From 1942 to 1993, Father Chiasson and Father Boudreau
published Chansons d'Acadie in 11 volumes. Father Chiasson is one of the founders of
the Centre d'études acadiennes with the folklore archives of the Université de Moncton
(Deschênes, 2012, “Franco-Canadian Folk music”).
In Northern Ontario, Father Germain Lemieux founded the Centre Franco-
Ontarien de Folklore. In 1974 and 1975, Father Lemieux published Chansonniers franco-
ontarien I and II. Marcel Bénéteau, on the other hand, explored an unexpected part of the
French folkloric heritage: the Detroit River and Lake Saint-Clair French Communities of
Southwestern Ontario. In 1988, Bénéteau begin collecting songs from the Detroit River
and Lake Saint-Clair French Communities. He collected 1700 versions of about 750
different songs (Bénéteau, 2007). Bénéteau studied ethnology at the Université de Laval
(Québec), and currently teaches at the Département de folklore et ethnologie de
l’Amérique française at the Université de Sudbury, Ontario. Last but not least, I would
like to mention Mr. Marcien Ferland who collected folk songs in Manitoba. Ferland
published Chansons à répondre du Manitoba in 1979 (Bénéteau, 2007, p.16).
Those are just a few of the collectors of French-Canadian folk songs. The Table
below presents a condensed version of the information presented in this part of the essay.
Collectors of French- Canadian Folk Songs and Studies
Name of the collector
Region studied Work/Distinction
Hubert Larue French Canada 1863: Larue published an article entitled "Les chansons populaires et historiques du Canada" in Le Foyer canadien.
French-Canadian Folk Songs
11
Ernest Gagnon French Canada 1863: Collect and transcribe tunes for some of the lyrics he had collected by Larue. 1865: Gagnon published a work entitled Chansons populaires du Canada with melodies and commentary.
Marius Barbeau Canada, especially Quebec
Bardeau is an anthropologist and collected more than 10 000 songs, which are preserved in the Canadian Museum of Civilization. Books on traditional songs: Romancero du Canada (1937) Alouette! (1946) Jongleur Songs of Old Quebec (1962) Le Rossignol y chante (1962)
Conrad Laforte French North America
1954: Laforte began classifying traditional songs. Between 1977 and 1987: published the Catalogue de la chanson folklorique in 6 volumes.
Father Anselme Chiasson Father Daniel Boudreau
Acadia (mainly the New-Brunswick portion)
From 1942 to 1993: Father Chiasson and Father Boudreau published Chansons d'Acadie in 11 volumes. Father Chiasson is one of the founders of the Centre d'études acadiennes with the folklore archives at Université de Moncton.
Father Germain Lemieux
Northern Ontario 1974 and 1975: Father Lemieux, founder of the Centre franco-ontarien de folklore, published Chansonniers franco-ontarien I and II
Marcel Bénéteau Southwestern Ontario (Detroit River and Lake Saint-Clair French Communities)
1988:Bénéteau begin collecting songs from the Detroit River and Lake Saint-Clair French Communities. Collected 1700 versions of about 750 different songs. Present: Teacher at Département de folklore et ethnologie de l’Amérique française, Université de Sudbury (Dr. in ethnology from the Université de Laval).
Marcien Ferland Manitoba 1979: Ferland published Chansons à répondre du Manitoba.
Part III: French-Canadian Lullabies and Other Folk Songs
Lullabies: The Most Personal of all Folk Songs…
“Fais dodo, colas mon p’tit frère - Fais dodo, tu auras du lolo…” These are the
lyrics of the lullaby my mother used to sing to me, and I remember it like it was
yesterday. It is also likely that instinctively, I will sing this same cradle song to my own
children the same way my mother did for me. My story is not unique: Most of us have
that little song that sleeps inside of us, this soft and safe memory of an innocent time in
our lives. Lullabies certainly have that mystic calming effect on children and even adults:
It allows a person to go back to that secure, warm and affectionate place - that is, the
French-Canadian Folk Songs
12
arms of their own mother. Thus, it is not surprising that this genre of song is still very
popular today. Indeed, many contemporary musicians have composed their personal
lullabies.
Where Do Lullabies fit in the Folk Music Spectrum?
Even if a considerable repertoire of lullabies exist, “only the anonymous lullabies
can be considered folkloric” (Laforte, 1976). Those songs need to be the result of the
“pass-on” factor and oral transmission from generation to generation. Unfortunately, the
French-Canadian lullaby repertoire is fairly small compared to other varieties of folk
songs. It makes sense because of how and where the folk songs are transmitted. First, the
lullabies heard as a child are often imprinted in one’s memory. For example, I can
remember the berceuse my mom used to sing to me without any effort. Moreover, there
are always one or a few songs that are more effective for our children: the miracle songs
that put the baby to sleep every time. That being said, it is not surprising that the basin of
lullabies transmitted from generation to generation is small, because thereare only a few
lullabies sung in each household. Secondly, most of the folk songs are transmitted in
public places. Lullabies are different, because they are more personal, and shared usually
within the household. Fortunately, some French-Canadian lullabies have survived after
all those years, maybe for their effectiveness, or because of the profound meaning of
those songs for the caregivers. Accordingly, if those songs were used to put the mom to
sleep as an infant, the same lullaby is likely to relax both the mom and the baby, making
it very effective.
Lullabies and Other Folk Songs
Any song sung quietly at a slow speed and sharing ideas of serenity and love could be
used for putting a baby to sleep” (WFMT, 2012, “lullabies”). That is one of the reasons
why not only lullabies are used to put children to sleep. For example, classical music is
often used to put babies (and also adults) to sleep. Also, other folk songs such as nursery
rhymes can be use as lullabies. By changing the speed of the song and the timbre of the
song, it is easy to transform any children’s song into a lullaby. Because nursery rhymes
and lullabies are both brief songs (as classified by Mr. Laforte, 1976, p.88), it is easy to
sing those songs in a loop. An important quality for a cradlesong is to contain a very
simple and repetitive melody that lulls the baby. Note that ballads are also use often as
lullabies because of their narrative aspect. The song A la Claire Fontaine is a good
example of that and will be discussed later in this section of the essay.
Examples of French- Canadian Lullabies
Of those French-Canadian lullabies that survived the test of time, Conrad Laforte
(1976) gave a few examples in his book Poétique de la chanson traditionnelle française
(p.88): Frere Jacques; Au Clair de la Lune; Il Pleut; Il Pleut Bergere; Fais Dodo; Colas;
Mon P’tit Frère; Dodo L’enfant do, and La Poulet Grise.
Fais dodo: http://www.youtube.com/watch?v=woPWQUb1YRY
Fais dodo Colas was the lullaby given as an example earlier in this section of the
work. This song is actually an excellent example of how where a song is sung can
influence the song itself. Poston & Arma (1972) explain that:
French-Canadian Folk Songs
13
A remarkable point about lullabies is that whether idealized or realistic, simple
adorned, and though they belong to all times and all countries, each one is the
perfectly individual product of its own particular hearth(p.47).
In the folk berceuse Fais dodo, the lyrics have no profound meaning. Therefore,
different regions of France and of Canada have their own version using their own “baby
language”. Notice the use of words such as “dodo”, “lolo”, “colat” and “poulot”, in
replacement of “sleep”, “milk”, “chocolate” and “chicken” in the different versions of
France presented in Appendix A.
The song certainly went through some transformation crossing the sea to Canada,
but the idea is the same: We talk about Colas instead of Colin, and some versions even
include other siblings to the original versions that include only the mom and the dad. In
Appendices A and B, you will find 4 different versions of France with approximate
translation and a version from Quebec. Appendix C is a version from Québec, transcript
in the 90s.
La Poulet Grise : http://www.youtube.com/watch?v=HQktrp8eLGE&feature=related
Other Folk Songs that can be Used as Lullabies
À la Claire Fontaine: http://www.youtube.com/watch?v=2PGG_fep9og&feature=related
A French minstrel first composed À la Claire Fontaine in the 15th
or 16th
century.
The song is organized in distichs (pairs of verse lines) separated by the chorus. The lyrics
are nostalgic and discuss the loss of a friend or lover and how the sadness that it creates
can affect the appreciation of the most beautiful things in nature such as the nightingale’s
sing.
Like all folk songs, different versions of this song exist, but this one is particular;
indeed, the first version in appendices D (Lyric) and E (melody) originated in France, and
travelled to Canada without melodic change, which is very rare. Another version from
France (more recent, around 1704) was also found in Canada and it is the most popular
version today (see the second version, appendices F (lyric) and G (melody)). The two
versions have completely different melody and chorus, but the couplets are sensibly the
same. Moreover, the older version is formed by well-balanced cadences over a 6-8 meter,
and the popular Canadian version is most of the time presented in 4-4 or 2-4 when written
in music notation.
Barbeau classified this song as a Work song because of how this song was
transmitted through time and continents. It is interesting that from a Canadian
perspective, À la Claire Fontaine is a work song, but from a French perspective, it is a
love song (as classified by Poston & Arma (1972). This song came to Canada with the
settlers in the 17th
century. They sang that melody to the rhythms of their labor: building
their houses; working on the land planting trees; sowing and in the farmland, or doing
everyday chore in their shop, etc. Every time they would go on a trip on a canoe or
French-Canadian Folk Songs
14
horseback riding in the mountain, this song would accompany their way along with other
songs such as Trois beaux canard and A Saint-Malo (Barbeau, 1946, p.24). Those songs
sometimes filled the solitude that accompanied long trips, and helped gather people in a
common effort. A la Claire Fontaine is certainly one of the most beautiful and nostalgic
national chants that came with the settlers.
V’la l’bon vent! http://www.youtube.com/watch?v=qaeFIkGSmVo&feature=related
This song is certainly one of the favorites of the French-Canadian folk repertoire.
Known under different titles and variations, it was the favorite song of the boaters that
traveled for the North West Company and the Hudson’s Bay Company. To the rhythms
of the rowing, this song accompanied the canoes along the long American rivers. The
song was modified in its chorus and melody. En roulant ma boule, C’est le vent frivolant,
Levez les pieds gaillardement, and many more are derivations of that song. Ernest Ganon
first published the version presented in the appendices H (lyric) and I (melody) in
Chansons populaires du Canada (1865). He got that version of V’là l’bon vent! from
Georges-E., a famous politician from the Richelieu River (Barbeau, 1946, p.39). Mr.
Cartier himself got the song from the “hommes de cages” (men of cages) of Outaouais.
On the Canadian Military History Gateway Website, it is explained that:
During the Napoleonic wars, timber cut in the Ottawa and Gatineau valleys was
gathered [by the men of cages] together and rafted to Quebec and shipped to
Great Britain. Canada became a vital source of supply for the construction of
British merchant fleets and Royal Navy ships and thus, Britain’s overwhelming
might at sea. (2011)
See appendix G for a picture of this process.
The way this song came to folk song collector Ernest Gagnon and the
transmission context led Mr. Gagnon to believe that the melody and chorus of this song
was of Canadian creation. Though many versions are of Canadian creation, the principal
theme of Trois Canards (shared with V’là l’bon vent) came from Europe. Numerous
versions were found in France, and also in Italy after changing language and melody!
Similarly to A la Claire Fontaine, V’là l’Bon Vent is organized in distiches.
However, the new couplet always starts with the last verse line of the previous distich.
The melody is organized in a 2/4 meter.
The lyrics of the version presented in the appendix H recount a story that can be
translated this way: Behind our house, there is a pond. Three pretty ducks are bathing in
it. The king's son is hunting. He aims for the black duck, but kills the white one. “Son of
the king, you are mean! You killed my white duck! From his eyes, diamonds are pouring,
and from his beak, gold and silver. His feathers are blown away in the wind, and three
ladies pick them up to make a camp bed. Chorus: There is the wind, there’s the good
wind, there is the wind my friend is calling me, my friend is awaiting me.
This beautiful song is one of the oldest tunes of the French-Canadian folk
repertoire. Even if the story overall is sad, the melody is perfectly suitable for a great
French-Canadian Folk Songs
15
lullaby. Other versions of the songs can be found with more appropriate lyric for a
cradlesong.
Alouette! http://www.youtube.com/watch?v=L_hFw_cWg9U&feature=related
Finally, this is the most known French-Canadian folk song, Alouette! Being a
song of such importance in the Canadian folk history, it is not surprising that scholars do
not agree on the origins of this song. Barbeau, a well-known and praised anthropologist,
argues that this song was first found in France. (Alouette!, Barbeau, p.12). On the other
hand, Hélène Plouffe in her article argues that the first version appeared in A Pocket Song
Book for the Use of Students and Graduates of McGill College (Montreal 1879) under the
title "Alouetté". Moreover, the song was then published as "Alouette" in the McGill
College Song Book in 1885, 8 years before the first printed version in France dating of
1893 in Revue des traditions populaires, vol 8 (Paris) by Julien Tiersot (Plouffe, 2012,
“Alouette!”). One thing is certain, the upbeat rhythm of this song conquered visitors from
all around the world, who learned this Canadian tune rapidly and brought it back to their
far away land. In his work Alouette!, Marius Barbeau (1946) recounts the anecdote of an
Australian baseball team swinging loudly Alouette on the dock in Vancouver on their
way back home, knowing nothing of French but the lyrics of this song! (p. 12)
Edouard-Zotique Massicotte, who notably worked with Mr. Bardeau in the
collection of folk music, tale and historic objects, provided the first version for the
National Museum in 1917. He first collected the song in 1883 in Montreal where he
learned it and lived all his life. Many versions were found, especially in the Montreal
region. The song was found significantly less in the repertoire of other regions. Mr.
Massicotte mentions a certain Mr. Gravel, who first learned the song in 1886, and sang it
in a banquet in England in 1905 (Barbeau, 1946, p.12). This is another example of how
this song was imported to other regions of the world.
The world of traditional folk music is extremely complex, because of the little
evidence we have about the different songs and their creators. It is an exciting challenge
for the collectors that unfortunately do not always agree on their findings. Nevertheless,
this song made its way around the world, being now part of our Canadian culture.
Expressively, Montreal’s very successful football team were named the Alouettes! Note
that the lyric and the melody is available respectively in appendices K and L.
16
16
Conclusion
French-Canadian folk music has a lot to offer in terms of history and beauty. This
essay explored folk music in general, French-Canadian folk music, and some examples of
the most beautiful French- Canadian lullabies and other folk songs. Firstly, folk songs are
the product of unknown creators that acted alone or in a group in order to share in a very
intimate way their everyday life and troubles. They are transmitted orally from person to
person, household to household, etc. Folk music and modern music differ in their purpose
of composition, the choice of accompaniment, the transmission process and the
performance settings. Secondly, Canada was multicultural long before the arrival of the
Europeans on the North American continent. Yet, the three major groups of influence on
French-Canadian folk music remain from the other side on the world: The French,
English and Gaelic cultures dramatically influenced French-Canadian folk music. Those
cultures influenced the genres, the accompaniment instruments, the structure and even the
lyrics of the French-Canadian folk music. This complex world inspired many collectors
of folk songs such as Marius Barbeau, a Canadian icon on the anthropology and folkloric
international scene. Finally, French-Canadian folk lullabies are a tradition of love and
peace. Passed on from generation to generation, they lulled thousands of infants and
mothers. Other folk songs also have been used as lullabies, telling the story of our
ancestors’ everyday life challenges. The European influence in Canadian folk music is
remarkable, but not as remarkable as the way settlers and their descendants have made
those song truly Canadian and representative of our own special reality.
“An old song is a song ever young…” Poston & Arma, 1972.
17
17
Appendix A
Fais Dodo: Versions From France
The Faber Book of French Folk Songs, 1972.
Orléanais
Fais dodo,
Colin mon p(e)tit frère;
Fais dodo,
Tu auraus du lolo.
Papa est en haut,
Qui prend son repos;
Mama est en bas,
Qui prend son repas.
Ile de France
Fais dodo,
Colin mon p(e)tit frère;
Fais dodo,
Tu auras du lolo.
Papa est en bas,
Mama nest en haut
Qui fait la bouillie
Pour l’enfant qui crie.
Bourgogne
Fais dodo,
Colin mon p(e)tit frère;
Fais ton dodo.
Mama nest là-haut
Qui fait la bouillie
Pourl’enfant qui crie;
Tant qu’il criera
Il n’en aura guère.
Artois
Fais dodo
Mon petit poulot,
Fait dodo
Tu auras du lolo.
Mama nest en faut
Qui fait du lolo;
Papa est en bas
Qui cass(e) tous les plats.
Orléanais
Sing balow,
Colin, little brother;
Sing balow,
There’s bye-bye for you.
Your daddy’s above,
He’s resting, my love;
Your mammy is good,
Downstairs at her food.
Ile de France
Hushabye,
Colin, little brother,
Hushabye,
You’ll suck by and by.
Downstairs, daddy’s there,
Upstairs, mammy’s there,
She’s got something nice
For baby who cries.
Bourgogne
Sing balow,
Colin little brother;
Sing you balow.
Your mammy’s above,
She boils something nice
For baby who cries;
If baby goes on,
Then he will get none
18
18
Artois
Rockabye,
My tiny wee chicken,
Rockabye,
There’s milk by and by.
Your mammy is nigh
To make you bye-bye.
Downstairs while he waits,
Your daddy breals plates.
19
19
Appendix B
Fais Dodo: A Version From Quebec
From Chut…fait dodo… , 1996
Refrain
Fais dodo, Colas mon petit frère
Fais dodo, tu auras du lolo
Maman est en haut, qui fait du gateau
Papa est en bas, qui fait du chocolat
Refrain
Ta soeur est en haut, qui fait des chapeaux
Ton frère est en bas, qui fait du nouga
Refrain
Ton cousin Gaston, fait des gros bonbons
Ta cousine Charlotte, fait de la compote
Refrain
20
20
Appendix C
Fais dodo
Version from Chut…Fais dodo… , Lapointe
21
21
22
22
Appendix D
À la Claire Fontaine Version I
From Collection Barbeau : communiqué par l’abbé P. Arsenault,Mont-Camel, île
du Prince-Édouard, vers 1924.
À la claire fontaine m’en allant promener,
J’ai trouvé l’eau si belle que je m’y suis baigné
Refrain
Depuis l’aurore du jour, je l’attends,
Celle que j’aime, que mon coeur aime.
Depuis l’aurore du jour, je l’attends,
Celle que mon coeur aime tant.
C’est au pied d’un grand chêne, je me suis fait sécher
Sur la plus haute branche, le rossignol chantait.
Refrain
Chante, rossignol, chante toi qui as le coeur gai!
Tu as le coeur à rire, moi je l’ai à pleurer.
Refrain
J’ai perdu ma maîtresse sans l’avoir mérité,
Pour un bouquet de roses que je lui refusai.
Refrain
Je voudrais que la rose fût encore un rosier,
Et que le rosier même fût à la mer jeté
Refrain
Et que le rosier même fût à la mer jeté.
Je voudrais que la belle fût encore à m’aimer
Refrain
23
23
Appendix E
À la Claire Fontaine
Version from Alouette!, Barbeau
24
24
Appendix F
À la Claire Fontaine Version II
From Le Chansonnier de Ballard, 1704 in The Faber Book of French Folk Songs,
1972.
A la claire fontaine,
m’en allant promener,
J’ai trouvé l’eau si belle
Que je m’y suis baigné.
Refrain
Il y a longtemps que je t’aime
Jamais je ne t’oublierai
Sous les feuilles d’un chêne
Je me suis fait sécher.
Sur la plus haute branche
Le rossignol chantait,
Refrain
Chante, Rossignol, chante
Toi qui a le Coeur gai,
Tu as le coeur à rire
Moi, je l’ai à pleurer
Refrain
J’ai perdu mon amie
Sans l’avoir mérité,
Pour un bouquet de roses
Que je lui refusai
Refrain
Je voudrais que la rose
Fût encore à planter,
Et que ma douce amie
Fût encore à m’aimer.
Refrain
Hard by the crystal fountain,
I went to take the air,
The water was so pretty
I dipped my body there.
Chorus
Long is the time I have loved you,
Oh never can I forget
Under a leafy oak tree
I made my body dry
High in its topmost branches
The nightingale did cry
Chorus
Sing, nightingale, so sweetly,
You that are gay of heart…
Happiness is your portion,
Tears now are all my part
Chorus
Gone is my lovely true love,
Not my fault, I aver,
But for a bunch of roses
I woudn’t give to her
Chorus
Wound that the rose still blossomed,
Still ripe for planting were,
And that my lovely true love
Loved me again so dear.
25
25
Appendix G
À la Claire Fontaine, Version II
From the Faber Book of French Folk songs, Poston & Arma
26
26
Appendix H
V’là l’Bon Vent!
From Alouette!, Barbeau
Refrain
V’là l’bon vent, v’là l’joli vent,
V’là l’bon vent!
M’ami m’appelle
V’là l’bon vent, v’là l’joli vent,
V’là l’bon vent!
M’ami m’attend.
Derrièr’ chez nous, yat un étang. (Bis)
Trois beaux canards s’en vont baignant.
Refrain
Trois beaux canards s’en vont baignant. (Bis)
Le fils du roi s’en va chassant,
Refrain
Le fils du roi s’en va chassant
Avec son grand fusil d’argent.
Refrain
Avec son grand fusil d’argent.
Visa le noir, tua le blanc.
Refrain
Visa le noir, tua le blanc.
O fils du roi, tu es méchant!
Refrain
Tu as tué mon canard blanc.
Par ses deux yeux sort’nt les diamants,
Et par son bec l’or et l’Argent,
Et tout’s ses plum’s s’en vont au vent.
Y sont trois dam’s les ramassant:
Et nous ferons un lit de camp…
27
27
Appendix I
V’là l’bon vent !
Version from Alouette ! , Barbeau
28
28
Appendix J
“Hommes de cages” de l’Outaouais
From Histoire militaire Canadienne Website
29
29
Appendix K
Alouette!
From Alouette!, Barbeau.
Alouette, gentille alouette,
Alouette, je t’y plumerai. (Bis)
Je t’y plumerai la têt’ (4 fois)
Ah! La têt’ (Bis)
Alouette, (Bis)
Ah!
Alouette, gentille alouette,
Alouette, je t’y plumerai. (Bis)
Je t’y plumerai le bec (4 fois)
Et le bec, (Bis)
Et la têt’ … (Bis)
Alouette, (Bis)
Ah!
Alouette, gentille alouette,
Alouette, je t’y plumerai. (Bis)
Je t’y plumerai les yeux (4 fois)
Et les yeux (Bis)
Et le bec, (Bis)
Et la têt’ … (Bis)
Alouette, (Bis)
Ah!
Alouette, gentille alouette,
Alouette, je t’y plumerai. (Bis)
Je t’y plumerai le cou (4 fois)
Et le cou (Bis)
Et les yeux (Bis)
Et le bec, (Bis)
Et la têt’ … (Bis)
Alouette, (Bis)
Ah!
Etc. les ailes, le dos, les pattes, la queue….
There are many versions of the song Alouette!, but the main idea is a lark's
feathers are plucked from its head, neck, back, tail, etc.
Appendix L
30
30
Alouette!
Version from Alouette! , Barbeau
31
31
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