Other articles and notes were regarded as raw data, rather than finished pieces of research. The aim was to make materials available without pretending to be a research journal. In par- ticular, we refrained from printing original contributions, except when they were brief explanatory notations to other pieces. In several respects we have been moving away from that initial framework. We feel that now, after twelve steadily growing issues, our publication is no longer a "house organ," and the title of Newsletter has ceased to be an accurate description. We plan to continue publishing the types of material we have in the past, but we would like to use more original articles and research. The success of this aim depends entirely on the coopera- tion of our readers. Consequently, we would like to stress now that we encourage and welcome contributions from readers. Discog- raphies, biographical stories, studies of particular songs, bibliographies, or interesting items from newspapers or other hard-to-obtain sources will be welcomed. Furthermore, we wish to remind readers that although the emphasis of the Newsletter was hillbilly music, we will welcome contributions in parallel areas of commercially recorded folk music: blues, cajun, folk-rock, etc.
Lift old time fiddling out of inclusion in that statement quoted above I. I have had contact with some 3000 or more fiddlers, seconds, fiddle makers and repairmen who live around the world (even behind the Iron Curtain). My files are probably the most extensive collection of source material in this field — without exception — and are still growing daily, with new contacts and information. Thus I feel qualified to speak on this subject. Early southern fiddling followed the path of travel of pioneer- ing settlers and frontiersmen into the southern states. How could it do otherwise, when the tunes, skills, instruments, and traditions came from Europe, with the immigrants to North America? Early northern fiddling followed the path of travel and settle- ment into the northern states and Canada, for the same reason. As decades passed, following the fiddling traditions, each group developed its own tunes and styles of fiddling. Also their tune titles became typical of their environment. Persons, places, things, events, etc, which these people knew were named in their fiddling tune titles. There was slight tune exchange except for an inter- change of tunes carried by travelers between the various fiddling groups in the geographical locations.