Music, in and of itself, is a primary source. Sheet music and compositions establish an eternal relationship between a composer’s original vision and a musician’s interpretation of the work, sometimes performed centuries later. These interpretations then lead to greater questions of what the music truly means: Why are we listening to this? How does this make us feel? “Good-Night and Parting Songs,” of The Journal of the Folk-Song Society, discusses the growing impact of night and dawn songs, starting small-scale from the original composition and eventually growing to the ever-lasting emotional impact on social gatherings. 

"Goodnight and joy be wi you a’”

There are common features associated with most night songs of the Scottish folk genre, including, but not limited to, length and subject matter (Gilchrist 184). Each line in the average five-to-ten lyrical statements of folk songs follows the chronology of one single night. The song begins by introducing a premature intention to say goodnight when the song ends. Then, the song follows the events or activities of a night. The song typically concludes with phrases associated with goodnight, bed, or a parting wish (Gilchrist 184). A.G. Gilchrist, author of Good-Night and Parting Songs, presents these lyrics plainly, before any analysis, allowing the readers to ask their own questions: Why do we listen to this? How might this make us feel? Gilchrist then presents the history of the lyrics, and outlines the process by which they were created. This offers a sensical analysis of why night songs exist, and how they came to be. Gilchrist often includes songs with certain lyrics “associated with the late breaking-up of a convivial gathering” (Gilchrist 185).  Saying goodnight is often difficult, but using lyrics that refer to the joyful atmosphere of a night could be considered more beneficial compared to a dwelling and downhearted goodbye. These words, and these parting songs, become a tool to go to sleep with hope for tomorrow, rather than a disappointing longing for the night that has already passed. 

"The Day Dawes”

More typically, the Irish and Scottish versions of parting-songs, and their performances, are associated with a more positive connotation, as opposed to the less-popular British versions, that are often more serious and have less personality (Gilchrist 188). This is commonly elucidated in Gilchrist’s organization when he includes the lyrics of Irish and Scottish night songs, like the phrase “goodnight and joy be wi you a,” being “played at the close of balls or convivial meetings,” examples of genial events, that refer to positive experiences (186). Gilchrist’s deliberate organizational style of lyrical analysis is what makes his argument compelling. He includes historical context immediately after he introduces the lyrics; he then discusses the greater historical impacts and finishes with the ways the songs have been sung. 

However, when Gilchrist begins discussing “The Day Dawes,” a down-hearted parting aubade song with unknown origin, he does so differently than he has previously in the text - without presenting the lyrics immediately before the historical analysis and symbolism (188). Gilchrist refers instantly to the themes in the song, and lovers saying goodbye. This analysis is clearly emotional; but, the lyrics are not here, and so the reader cannot draw their own conclusions, like they could through the lyrical analysis process in Gilchrist’s previous examples. Instead of continuing with his typical structure, which would include explaining the ways the piece has been performed, Gilchrist immediately begins discussing traditional versions, or variations, of the same text as it was presented in both Shakespeare and British “traditional forms” (188). Gilchrist then begins to assert that this song was used in more formal literature; he references the piece being discussed in “Mr. C. R. Baskervill's scholarly brochure” (188). This does prove the serious tone of the English aubade songs, and align with the idea of the song having British origins. But, these ideas are ultimately distracting, and do not necessarily relate to the true origins of the pieces. The origins of the song were never specified in Gilchrist’s explanation of historical context; it is still considered unknown where the piece is from. While it could make sense for the piece to be British, as it was referenced in English literature, the piece is said to have been most common in medieval Europe, with the origins of similar songs coming from Western Europe (Gilchrist 188-189). This specific portion of The Journal of the Folk-Song Society leads to many questions about geographical origins, and the difference in the way songs are portrayed in different countries. 

Ultimately, the change in organization and style of lyrical analysis to discuss British music, not within the context of Irish and Scottish folk, seems to be out of place, and raises many questions. If Gilchrist introduced the lyrics, then discussed the historical context immediately after, and finished with his typical inclusion of performances and impacts of the song, the organization may have made more sense. The chronology of lyrical analysis is especially important when discussing night and dawn, or aubade, songs, as the chronology of the songs themselves contribute greatly to their meaning. In pieces like “The Parting Glass,” developing personal relationships with the song is imperative, so being able to interact with the lyrics before concluding the themes (as you best understand them) is especially important.