01/22/25

La belle, si j’avais su!

Strophe	Rhyme	Line	Text
A 1	a	1	La belle, si j’avais su, la belle, si j’avais cru,
	a	2	Que jamais nos amours en aurions parvenu.
A2	a	1	La belle, si j’avais su, la belle, si j’avais cru,
	a	2	Que jamais nos amours en aurions parvenu.
B1	b	3	J’aurais partout dépensé mon argent,
	b	4	Le soir au cabaret avec tous tes parents.
B2	b	3	J’aurais partout dépensé mon argent,
	b	4	Le soir au cabaret avec tous tes parents.
A1	a	5	Si tu l’as défoncé, c’est parce que tu l’as bien voulu.
	a	6	Combien de fois je te l’ai défendu.
A2	a	5	Si tu l’as défoncé, c’est parce que tu l’as bien voulu.
	a	6	Combien de fois je te l’ai défendu.
B1	c	7	Combien de fois nous avons veillé tous deux
	c	8	Le soir à la chandelle comme de braves amoureux.
B2	c	7	Combien de fois nous avons veillé tous deux,
	c	8	Le soir à la chandelle comme de braves amoureux.

Rhyme Analysis: Each four-line stanza features two lines that repeat, of the monorhyme type and “pauvre” quality. The second half begins with the same rhyme at the beginning, but then brings in a different rhyming sound (i.e., ab/ac).

The text seems to be split into two parts, sung by two different singers. The first two stanzas are sung by the man, and the last two are sung by the woman. These two singers are presumably meant to embody two lovers who are breaking up. As both singers do not sing back and forth to each other, but rather in a long form monologue one after another, it is likely that the text reflects the point of view of each lover after the relationship has ended.

The first two stanzas, sung by Allan Mills (embodying the man), is mournful about ending his relationship with his lover. He sings about how he would have tried harder to impress her parents, and splurged them with nights at the cabaret, had he known their relationship was leading to an end.

The second half is sung by Helene Baillargeon (embodying the woman) who sings about the likely reasons why she has decided to end the relationship. In the first stanza, she sings about how it seems her ex-lover has gotten himself in trouble by getting into one too many fights. The last stanza indicates that their relationship was already in troubled waters and had to be kept secret.

There is a good indication that this may have been a drinking song; despite the text being about two lovers breaking up, it is light-hearted and comical. This is especially evident in the second stanza when the man sings that he would have wooed his partner’s parents by taking them to a cabaret; a seemingly counterintuitive decision. Also, in contrast to the subject, the rhythm of the music is bouncy and set in a major key.

Suggested sources:

CANADA – Helene Baillargeon / Alan Mills: Chansons d’Acadie (Folk Songs of Acadia). Naxos Music Library. (n.d.). https://ubc-naxosmusiclibrary-com.eu1.proxy.openathens.net/world/catalogue/829410970662
King, B. N., & Panneton, H. (2007, December 20). Hélène Baillargeon | the Canadian encyclopedia. The Canadian Encyclopedia. https://www.thecanadianencyclopedia.ca/en/article/helene-baillargeon-emc

V’a l’bon vent (Les trois canards)

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

Derrière chez nous y a un étang. (bis)
Trois beaux canards s’en vont baignant.

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

Trois beaux canards s’en vont baignant. (bis)
Le fils du roi s’en va chassant.

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

Le fils du roi s’en va chassant, (bis)
Avec son grand fusil d’argent.

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

Avec son grand fusil d’argent, (bis)
Visa le noir, tua le blanc.

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

Visa le noir, tua le blanc. (bis)
Ô fils du roi, tu es méchant.

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

Ô fils du roi, tu es méchant, (bis)
D’avoir tué mon canard blanc !

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

D’avoir tué mon canard blanc ! (bis)
Par-dessus l’aile, il perd son sang.

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

Par-dessus l’aile, il perd son sang, (bis)
De ses yeux lui sortent des diamants.

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

De ses yeux lui sortent des diamants, (bis)
Et de son bec l’or et l’argent.

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

Suggested Sources:

01/22/25

Bal chez Boulé

Dimanche après les vêpr's y aura bal chez Boulé
Mais il n'ira personn' que ceux qui sav'nt danser.

Vogue marinier vogue, vogue,
Vogue, beau marinier.

Tout l'mond'dansait d'son mieux, on s'faisait pas prier
La fill' de "Jos Via-lon" ne voulut pas danser.

Vogue marinier vogue, vogue,
Vogue, beau marinier.

Pourquoi n'dansez-vous pas? êt's vous trop fatiguée?
Ou bien avez-vous peur d'user vos beaux souliers?

Vogue marinier vogue, vogue,
Vogue, beau marinier.

Non, non, ce n'est pas ça, j'ai un p'tit cor au pied,
Je vais me contenter de vous r'garder danser.

Vogue marinier vogue, vogue,
Vogue, beau marinier.

Tinest, le violoneux, laissait pas l'temps d'souffler,
Pour mettr' ça plus soul'vant, tapait de ses deux pieds.

Vogue marinier vogue, vogue,
Vogue, beau marinier.

Baptist', qui "câlait l'set", tout tremp' comme un' lavette
S'écria: "Domino! parc' que les femmes on chaud!"

Vogue marinier vogue, vogue,
Vogue, beau marinier.

Source: Le bon vieux temps

Suggested Sources:

Recording with Charles Marchand, BaNQ numérique, Bibliothèque et archives Nationales du Québec. https://numerique.banq.qc.ca/patrimoine/details/52327/620 (Accessed January 22, 2o025)

Acadia

Acadia

[1] Acadia, a region in northeastern North America, has a rich history marked by the first permanent agricultural settlements, along with French colonization, cultural development, and conflicts between European powers. The term “Acadia” is believed to have originated from the Mi’kmaq word “-cadie,” meaning “a piece of land,” though some attribute it to the explorer Verrazzano, who in 1524 named parts of the Atlantic coast “Archadie.” In 1604, Pierre du Gua de Mons took an expedition to build a French colony in North America. Accompanied by Samuel de Champlain, they settled on Île Sainte-Croix. Harsh winter conditions led to numerous deaths, prompting relocation to Port-Royal in 1605. Despite initial success, the revocation of de Mons’ monopoly in 1607 forced the settlers to return to France. Subsequent attempts to re-establish the colony faced challenges, including destruction by British forces in 1613.

[4] Acadian immigrants formed a unique society, combining French traditions and the culture of the Indigenous peoples of the area, primarily the Mi’kmaq. They established agricultural communities, utilizing dyke systems to cultivate fertile marshlands. This lifestyle fostered a close-knit, self-sufficient community with a unique cultural identity. Music played an integral role in Acadian culture, both as a form of entertainment and as a means of preserving traditions. From early on, Acadian music featured songs from France and evolved to include local influences, blending French, Mi’kmaq, and later Celtic styles. Traditional instruments like fiddles and accordions became central to Acadian musical expression, particularly in lively social gatherings like “kitchen parties.” Songs were often passed down orally, reflecting Acadians’ connection to their heritage.

[3] The Acadian song “Le Pêcheur Acadien” was written by Father André-Thaddée Bourque in the early 20th century as part of a series of Acadian nationalist songs and to honor the life and traditions of Acadian fishermen. Likely composed in the Canadian Maritimes, the song captures the deep connection between Acadians and the sea, reflecting their reliance on fishing for sustenance and livelihood. The music features a simple, folk-inspired melody, often accompanied by traditional Acadian instruments such as the fiddle and guitar/mandolin, providing a rhythmic and lively accompaniment [2]. The structure follows a strophic form, with verses narrating the daily life and challenges of Acadian fishermen, emphasizing themes of resilience.

[1] Acadia’s location made it a focal point of Anglo-French rivalry. The Treaty of Utrecht in 1713 ceded parts of Acadia to Britain, but ambiguities led to ongoing disputes. Tensions culminated in the Great Upheaval of 1755, where Lieutenant Governor Charles Lawrence ordered deportation of approximately 10,000 Acadians. Families were separated, and many perished due to harsh conditions. Most were sent to American colonies while others migrated to France, England, and the Caribbean. In 1763, the British had successfully defeated the French in the Seven Years War. The British authorities allowed Acadians to return to the province under the conditions that they were loyal to the British crown, families to be separated from each other. Today, many institutions assert collective action towards the federal and provincial governments of Prince Edward Island, New Brunswick, and Nova Scotia have ensured that linguistic rights were maintained. More importantly, Acadian descendants have social status and celebrate their heritage through festivals, music, and the preservation of the French language. Regions in the Canadian Maritimes and parts of Maine continue to honor Acadian traditions, reflecting a resilient cultural legacy.

References

[1] Anon. “Acadia | the Canadian Encyclopedia.” Www.thecanadianencyclopedia.ca, 13 Mar. 2006, edited 21 July 2015, www.thecanadianencyclopedia.ca/en/article/acadia. Accessed 21 Jan. 2025.

[4] Anon. “Acadian Culture | the Canadian Encyclopedia.” Thecanadianencyclopedia.ca, 15 Aug. 2016, edited 20 Sept. 2018, www.thecanadianencyclopedia.ca/en/article/acadian-culture. Accessed 21 Jan. 2025.

[2] Labelle, Ronald. “Acadian Music | the Canadian Encyclopedia.” Thecanadianencyclopedia.ca, 23 Apr. 2014, edited 4 March 2015, www.thecanadianencyclopedia.ca/en/article/music-in-acadia. Accessed 21 Jan. 2025.

[3] Larry Robichaud – Topic. “Le Pêcheur Acadien.” YouTube, 11 June 2021, www.youtube.com/watch?v=sBQJnHxLQek. Accessed 22 Jan. 2025.

Related Sources

E.S. Griffith, Naomi. Contexts of Acadian History, 16861784. McGillQueen’s University Press, 1992, https://doi.org/10.2307/j.ctt130hhxb. JSTOR. Accessed 21 Jan. 2025.

Glover, Fred. “Acadian Expulsion (Plain-Language Summary) | the Canadian Encyclopedia.” Www.thecanadianencyclopedia.ca, 7 July 2021, edited 7 July 2021. www.thecanadianencyclopedia.ca/en/article/acadian-expulsion-plain-language-summary. Accessed 21 Jan. 2025.

Johnson, Marc L., and André Leclerc. “Contemporary Acadia | the Canadian Encyclopedia.” Www.thecanadianencyclopedia.ca, 10 July 2019, edited 10 July 2019. www.thecanadianencyclopedia.ca/en/article/contemporary-acadia. Accessed 21 Jan. 2025.

Landry, Nicolas, and Père Anselme Chiasson. “History of Acadia | the Canadian Encyclopedia.” Thecanadianencyclopedia.ca, 9 Aug. 2013, edited 23 Nov. 2020. www.thecanadianencyclopedia.ca/en/article/history-of-acadia. Accessed 21 Jan. 2025.

University of Maine at Fort Kent. “The First Acadians – Acadian Culture in Maine.” Acim.umfk.edu, 2024, acim.umfk.edu/first_acadians.html. Accessed 21 Jan 2025.

Suggested Sources

[3] Larry Robichaud – Topic. “Le Pêcheur Acadien.” YouTube, 11 June 2021, www.youtube.com/watch?v=sBQJnHxLQek. Accessed 22 Jan. 2025.

01/21/25

À la claire fontaine

À la claire fontaine 
M'en allant promener, 
J'ai trouvé l'eau si belle, 
Que je m'y suis baigné. 

Il y a longtemps que je t'aime 
Jamais je ne t'oublierai. 

J'ai trouvé l'eau si belle,  
Que je m'y suis baigné.
Sous les feuilles de chêne 
Je me suis fait sécher, 
Sur la plus haute branche 
Le rossignol chantait .

Il y a longtemps que je t'aime 
Jamais je ne t'oublierai.

Sur la plus haute branche,
Le rossignol chantait
Chante, rossignol, chante 
Toi qui as le coeur gai, 
Tu as le coeur à rire 
Moi je l'ai à pleurer.

Il y a longtemps que je t'aime 
Jamais je ne t'oublierai. 

Tu as le coeur à rire
Moi je l'ai à pleurer
C'est pour mon ami Pierre 
Qui ne veut plus m'aimer, 
Pour un bouton de rose 
Que je lui refusai.

Il y a longtemps que je t'aime 
Jamais je ne t'oublierai. 

Pour un bouton de rose  
Que je lui refusai
J'ai perdu mon ami 
Sans l'avoir mérité,
Pour un bouquet de roses 
Que je lui refusai. 

Il y a longtemps que je t'aime 
Jamais je ne t'oublierai. 

Pour un bouquet de roses  
Que je lui refusai
Je voudrais que la rose 
Fût encore au rosier, 
Et que mon doux ami 
Fût encore à m'aimer. 

Il y a longtemps que je t'aime 
Jamais je ne t'oublierai.

Source: https://www.youtube.com/watch?v=QzrtfA7HHbc

Lyrics source: https://www.iletaitunehistoire.com/genres/comptines-et-chansons/lire/biblidcha_016#histoire

(There are various versions)

Rhyme: monorhyme

Topic/context: unrequited love

The earliest version is 1604. This song was popular in Belgium and in Canada. Numerous versions of both music and lyrics can be found, and versions known in France and Belgium vary from those known in Canada.

The song speaks of a lover bathing in a fountain, hearing a nightingale singing, and thinking about her lover whom she lost long ago after refusing a bouquet of roses he was offering her, most likely symbolizing him proposing to her. The nightingale’s heart laughs but hers weeps.

01/20/25

Vive la Canadienne (1952)

Note: Vive la Canadienne was the national song mostly sung in Québec before “O Canada” became popular. Its origins can be traced back to the early 1840s (Hélène Plouffe, 2013). This album “Folk Songs of French Canada,” which was released in 1952 on January 1st by Smithsonian Folkways Label, contains a collection of traditional Canadian Folk Songs performed by Alan Mills (voice and guitar). “Vive la Canadienne” is the last song of this album. The lyrics by Alan Mills are different from the official lyrics of the “Vive la Candienne” national anthem. The music is a military march of the 22nd Royal Régiment, adapted by Captain Edwin Bélanger, who was Director of Music for the 22nd Royal Régiment (Government of Canada, 2021).

Vive la Canadienne,
Vole, mon coeur vole!
Vive la Canadienne,
Et ses jolis yeux doux,
Et ses jolis yeux doux, doux, doux, et ses jolis yeux doux. (bis)

Nous la menons aux noces,
Vole, mon coeur, vole!
Nous la menons aux noces,
Dans tous ses beaux atours,
Dans tous ses beaux atours, atours, atours, dans tous ses beaux atours. (bis)

Nous faisons bonne chère,
Vole, mon coeur, vole!
Nous faisons bonne chère,
Et nous avons bon goût!
Et nous avons bon goût, goût, gout; et nous avons bon gout! (bis)

On danse avec nos blondes,
Vole, mon coeur, vole!
On danse avec nos blondes,
Nous changeons tour à tour,
Nous changeons tour à tour, tour, tour; nous changeons tour à tour, (bis)

Ainsi le temps se passe,
Vole, mon coeur, vole!
Ainsi le temps se passe,
Il est vraiment bien doux!
Il est vraiment bien doux, doux, doux; il est vraiment bien doux! (bis)

Vive la Canadienne,
Vole, mon coeur vole!
Vive la Canadienne,
Et ses jolis yeux doux!

Source: Folkways Media

Suggested sources:

Plouffe, H. (2013). Vive la Canadienne. In The Canadian Encyclopedia. Retrieved from https://www.thecanadianencyclopedia.ca/en/article/vive-la-canadienne-emc
Naxos Music Library World. (2025). CANADA – Alan Mills: Folk Songs of French Canada. Naxos Music Library World. Retrieved from https://ubc-naxosmusiclibrary-com.eu1.proxy.openathens.net/world/catalogue/829410971065?workId=580262
Smithsonian Folkways Recordings. (n.d.). Liner notes for Alan Mills Sings Vive la Canadienne. Smithsonian Folkways Recordings. Retrieved from https://folkways-media.si.edu/docs/folkways/artwork/FW06929.pdf
Army, N. D. (2021). La Musique du Royal 22e Régiment – Canada.ca. Retrieved January 15, 2025, from https://www.canada.ca/en/army/corporate/2-canadian-division/la-musique-du-royal-22e-regiment.html
Chansons populaires du Canada, 1880/p004 – Wikisource. (2022). Retrieved from https://fr.wikisource.org/wiki/Chansons_populaires_du_Canada,_1880/p004
French Canadian Patriotic Song: Vive la Canadienne. (2020). Retrieved from https://www.youtube.com/watch?v=brBuNlHL-Is

01/20/25

LibGuide for Francophone Songs in North America

Hello! I have just added a new section to the Music Research Guide dedicated to francophone songs in North America. A number of scores, recordings, articles, books, search terms, and other resources have been compiled here. These resources are not exhaustive, but should help support your research in this course.

You can access the guide here: https://guides.library.ubc.ca/c.php?g=724029&p=5370467 or navigate to it by accessing the Music Research Guide and selecting “Special topics: Francophone Song in North America”.

If you have questions or would like additional research support, please reach out to the Music Librarian at david.haskins@ubc.ca.

01/16/25

Suzie LeBlanc (1961–)

Suzie LeBlanc is a soprano, a teacher, an actress, and a harpsichordist. She was born in Edmunston in 1961. She has an Acadian heritage (an ethnic group descended from the French who settled in North America) but grew up listening to and practicing classical music. LeBlanc studied harpsichord, with singing as a second subject at CEGEP St-Laurent, Montreal. Later, she joined the women’s trio Musica Secreta on their tour of Western Canada. She moved to Europe to study voice a few years later and was eventually offered a singing part with The Consort Musicke.

LeBlanc specialized in baroque and classical repertoire. However, her career is also inextricably linked to her Acadian heritage. As a recording artist, she has contributed to numerous Acadian recordings. She has recorded many unpublished works, including Chants d’Acadie: Tout Passé, a collection of mainly Acadian songs. Her album La Mer Jolie, Chants d’Acadie celebrates the 400th anniversary of the arrival of the French settlers. As a performer, she has appeared in recitals with many leading early music ensembles and performers, performing pieces like L’Incoronazione di Poppea in L’Opera de Montreal and Grand Messe by Gilles Vigneault (a Quebec singer-songwriter) during Quebec City’s 400th anniversary year. As a teacher, she has taught at the University of Montréal (2000-9), McGill University (2008-9), and the Conservatoire de musique de Montréal (2009). In 2005 she became the artistic director of Le Nouvel Opéra.

Sources:

Ellis, Andrea , and Jennifer Gillis. “Suzie LeBlanc.” The Canadian Encyclopedia. Historica Canada. Article published March 10, 2013; Last Edited December 14, 2013. https://thecanadianencyclopedia.ca/en/article/suzie-leblanc-emc

01/16/25

La Bottine Souriante (1976–)

La Bottine souriante are a Québécois folk revival band, formed in 1976 by Yves Lambert and others in his home city of Joliette.[1] Since their founding during a peak period of Québec nationalism, they have become one of the most important disseminators of Québécois folk music, both within the province and internationally; many important Québécois folk musicians have at some time played with the group.[2]

Since their first album, Y’a ben du changement (1978), their music has been received with success: they recorded 14 studio albums with Lambert from 1976 to 2003, winning two Juno awards and eight Prix Félix during this time. La Bottine souriante continues to tour extensively around Europe and Canada,[3] and is especially popular in the USA.[1] They have also been politically active, and campaigned for “Yes” in the 1980 Québec referendum.

The personnel in the band have changed extensively since their founding; the current lineup consists of Eric Beaudry, David Boulanger, Robert Ellis, Jean Fréchette, Jean-François Gagnon-Branchaud, Mathieu Gagné, Jocelyn Lapointe, Olivier Salazar, Sandy Silva, Timi Turmel, and André Verreault, with Lambert having left in 2003. Founding members included Mario Forest, Lambert, André Marchand, Gilles Cantin, and Pierre Laporte, and many other musicians have been involved with the group both as core members and as guest artists. The instrumentation consists of common French-Canadian folk instruments (accordion, guitar, fiddle, harmonica, mandolin, jaw harp) as well as elements of Celtic and Irish music, brass instruments, and more recently jazz-inspired piano and bass.[4] The group has a long history with 16 studio albums and numerous guest appearances over their almost 50-year history. Some suggested listening has been included below.

Since much of their music is intended for dance, foot-tapping is featured prominently (e.g. the opening track Cette bouteille-là from Appellation d’origine contrôlée). This particular album also features percussive dancing by Sandy Silva as part of the music.[5] In this album, the title relates to an agricultural label (AOC) which designates local products produced in a particular region, perhaps to evoke an organic, agrarian aesthetic (though the instrumentals in this album contain a curious fusion of big band and funk not heard in their earlier output). The galloping rhythms are a commonality across much of their musical output across time, and can be also heard as early as in Y’a ben du changement. Alternation between songs and instrumental dance pieces also persists across albums, and many techniques (e.g. call and response) remain the same.

Suggested Sources:

“La Bottine souriante.” The Canadian Encyclopedia. Historica Canada. Article published February 07, 2006; Last Edited December 15, 2013.
Thérien, Robert. “La Bottine souriante.” The Canadian Encyclopedia. Historica Canada. Article published August 21, 2006; Last Edited December 16, 2013.
Noakes, Taylor. “Yves Lambert.” The Canadian Encyclopedia. Historica Canada. Article published September 7, 2022; last edited September 7, 2022.
Wikipedia Editors. “La Bottine souriante.” Wikipedia. https://en.wikipedia.org/wiki/La_Bottine_Souriante
Romero, Angel. “Foot Tapping Good.” Review of Appellation d’origine contrôlée by La Bottine souriante (Borealis, 2011). World Music Central. https://worldmusiccentral.org/2012/01/13/foot-tapping-good/

Suggested Listening:

A recent album: Appellation d’origine contrôlée (Borealis, 2011): https://ubc-naxosmusiclibrary-com.eu1.proxy.openathens.net/world/catalogue/BCD211
The first album: Y’a ben du changement (Milles-Pattes, 1978): https://music.youtube.com/playlist?list=OLAK5uy_km3UsEQ3IuBkKbMSaVrUU8KM6ezNB8g9I&si=pj6_iym4GGst6-L_
Artist page, containing most of their albums, on Youtube Music (free to access): https://music.youtube.com/channel/UC6_J-ocwlQV7FjsgrjapY2g?si=WCIsj3JSckCPQnGd

Angèle Arsenault (1943–2014)

[Add text here]

Suggested Sources:

Taylor, Rachelle , and Durrell Bowman, , and Suzanne Thomas, , and Hélène Plouffe. “Angèle Arsenault.” The Canadian Encyclopedia. Historica Canada. Article published June 10, 2008; Last Edited July 17, 2015.