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Saving the Old Tunes

The figures are sobering. Of the many hundreds of regional fiddle tunes and traditional songs once handed down at kitchen parties across Canada, a large share are now performed by almost no one. More slip out of collective memory with every passing decade, as the last musicians who learned them by ear grow old and pass away. Supporters of what is loosely called "music revival" argue that rescuing even a single endangered tradition helps anchor a community's fragile link to its cultural past. This movement has lately gained real institutional weight. A handful of provincial governments have begun funding heritage-music archives and school programs, yet administrators still weigh the competing considerations with visible caution. The difficult question now facing them is how far scarce public money should reasonably go to sustain traditions that the great majority of listeners have quietly abandoned.

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1Chiasson is mainly concerned about
Asettling on which performance counts as the real one.
Binflated claims about what revival achieves.
Cpublicly funded schemes that save music for political credit.
Ddenials about how fast the old tunes are vanishing.
2Ellison suggests that musicians who let an old style fade may be
Adestroying an irreplaceable melody for good.
Banchoring the whole community's link to its past.
Cresponding to what today's listeners want.
Dchasing the tourist dollars of a heritage story.
3The two people most skeptical about publicly funded revival are
AChiasson and the CTMT.
BRennick and Chiasson.
CRennick and Ellison.
DEllison and Chiasson.
4Ellison's view implies that some musicians
Acan gain by following current tastes.
Blose an irreplaceable tune the moment they stop.
Cdeserve public funding for their whole tradition.
Dcarry the community's memory bound up in the tune.
5Overall, the article presents music revival as
Arejected because the public dislikes the old tunes.
Bclearly justified by how fast the tunes vanish.
Ca hard question with no settled answer.
Dessential to every single community's identity.
6Compared with Rennick, Ellison's stance toward publicly funded revival is more
Aenthusiastic about the schemes.
Bindifferent to the losses.
Cuncertain about the tunes.
Dplainly unconvinced by them.
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