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The capital is home to the Folk-Song Society and the English Folk Dance Society since the late 19th century (now known as the English Folk Dance and Song Society), but the most distinctive genre of London music, its many street cries, were not considered folk music by mainstream collectors and were recorded and published by figures such as Andrew White in Old London Street Cries ; and, The ...
- British folk revival
The British folk revival incorporates a number of movements...
- Category:British folk music
This page was last edited on 29 December 2023, at 03:57...
- British folk revival
The British folk revival incorporates a number of movements for the collection, preservation and performance of folk music in the United Kingdom and related territories and countries, which had origins as early as the 18th century. It is particularly associated with two movements, usually referred to as the first and second revivals, respectively in the late 19th to early 20th centuries and ...
This page was last edited on 29 December 2023, at 03:57 (UTC).; Text is available under the Creative Commons Attribution-ShareAlike License 4.0; additional terms may apply.
England has a long history of folk music. During the medieval period there were forms of music, song and dance. A lot of the tradition has been preserved and is practiced. [1] There are a number other forms of music that made subgenres such as British folk rock, folk punk and folk metal, popular in areas such as Northumbria and Cornwall. [2]
- Overview
- The concept of folk music
folk music, type of traditional and generally rural music that originally was passed down through families and other small social groups. Typically, folk music, like folk literature, lives in oral tradition; it is learned through hearing rather than reading. It is functional in the sense that it is associated with other activities, and it is primar...
The term folk music and its equivalents in other languages denote many different kinds of music; the meaning of the term varies according to the part of the world, social class, and period of history. In determining whether a song or piece of music is folk music, most performers, participants, and enthusiasts would probably agree on certain criteria derived from patterns of transmission, social function, origins, and performance.
The central traditions of folk music are transmitted orally or aurally, that is, they are learned through hearing rather than the reading of words or music, ordinarily in informal, small social networks of relatives or friends rather than in institutions such as school or church. In the 20th century, transmission through recordings and mass media began to replace much of the face-to-face learning. In comparison with art music, which brings aesthetic enjoyment, and popular music, which (often along with social dancing) functions as entertainment, folk music is more often associated with other activities, such as calendric or life-cycle rituals, work, games, enculturation, and folk religion; folk music is also more likely to be participatory than presentational.
The concept applies to cultures in which there is also an urban, technically more sophisticated musical tradition maintained by and for a smaller social, economic, and intellectual elite in cities, courts, or urbanized cultures. Generally, “folk music” refers to music that broad segments of the population—particularly the lower socioeconomic classes—understand, and with which they identify. In this respect it is the rural counterpart to urban popular music, although that music depends mainly on the mass media—recordings, radio, television, and to some degree the Internet—for dissemination.
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Traditionally, folk music performers were amateurs, and some folk songs were literally known to all members of a community; but specialists—instrumentalists and singers of narratives—were important to folk communities. In the 20th century, the role of professionals as performers and carriers of folk traditions expanded dramatically. Folk music as it is believed to have existed in earlier times may be discussed separately from periods of revival such as that of 19th-century European nationalism and the 20th-century revivals, shortly before and after World War II, that were motivated by political agendas. In the context of popular music, performances of “folk music” may be distinguished by the use of songs with political agendas and the use of traditional instruments and acoustic guitars. On the other side of the musical spectrum, lines between folk music and art music were blurred beginning in the 19th century, when art music composers introduced songs from folklore into urban musical culture.
Nov 28, 2012 · Cecil Sharp’s Days Cecil Sharp is undoubtedly one of the most important figures to consider in talking about any English Folk music. Born 1854, he spent his days as an avid collector of folksongs from the countryside. Much of England’s traditional music owes its existence today to his great mission of recording and preservation.
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Sep 30, 2017 · The British Folk Revival is the very first historical and theoretical work to consider the post-war folk revival in Britain from a popular music studies perspective. Michael Brocken provides a historical narrative of the folk revival from the 1940s up until the 1990s, beginning with the emergence of the revival from within and around the left-wing movements of the 1940s and 1950s.
