Folk music

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Folk music includes traditional music and genres that evolved from it during the revival of the twentieth century people. The term originated in the 19th century, but it is often applied to music older than that. Some types of folk music are also called world music. Traditional folk music has been defined in several ways: such as transmitted orally, music with unknown composers, or music performed by custom over a long period of time. This has been contrasted with both commercial and classical styles.

Beginning in the mid-20th century, a new form of popular folk music evolved from traditional folk music. This process and period is called the rise of the (second) people and reached its peak in the 1960s. This form of music is sometimes called contemporary folk music or people's resurrection music to distinguish it from previous folk forms. A smaller and similar revival has occurred elsewhere in the world at other times, but the term folk music is usually not applied to the new music created during the revival. This type of folk music also includes fusion genres such as folk rock, folk metal and others. While contemporary folk music is a genre that is generally different from traditional folk music, the English have the same name, and often share players and the same place with traditional folk music.

Video Folk music

Traditional folk music

Definition

The definition of consistent traditional folk music is elusive. The terms folk music , regional songs , and folk dance are relatively new expressions. They are extensions of the folklore term, coined in 1846 by Englishman William Thoms to describe the "traditions, customs, and superstitions of the uncultured class". The term is further derived from the German expression Volk , in the sense of "people as a whole" as applied to popular and national music by Johann Gottfried Herder and Romantika of Germany more than half a century earlier. Traditional folk music also includes most of the original music.

However, apart from a huge collection of workforces for about two centuries, there is still no definite definition of what folk music (or folklore, or folk) is. Some do not even agree that the term Folk Music should be used. Folk music may tend to have certain characteristics but can not be clearly distinguished in pure music terms. One meaning often given is "old songs, no famous composers", others are music that has been submitted to the "evolution of the oral transmission" process of evolution.... the reorganization and re-establishment of music by people who give the character of their people ".

Such a definition depends on the "process (culture) rather than the type of abstract music...", on " continuity and oral transmission ... seen as a feature of one side of the dichotomous culture, the other side found not only in the feudal underworld, capitalist and some oriental societies but also in 'primitive' societies and in the 'popular culture' section. " One widely used definition is "Folk music is what people sing".

For Scholes, as well as for Cecil Sharp and BÃÆ'Ã… © la BartÃÆ'³k, there is a sense of country music different from that of the city. Folk music has been, "... seen as an authentic expression of a way of life that has now passed or almost disappeared (or in some cases, to be preserved or somehow revived)", especially in "communities unaffected by art music" and with commercial and printed songs. Lloyd rejected this for the sake of a simple economic class distinction, but for him real folk music was, in the words of Charles Seeger, "associated with the lower classes" in culturally and socially stratified societies. In this term folk music can be seen as part of a "scheme consisting of four types of music: 'primitive' or 'tribal', 'elite' or 'art'; 'folk'; and 'popular'".

Music in this genre is also often called traditional music. Although this term is usually only descriptive, in some cases people use it as a genre name. For example, the Grammy Award previously used the term "traditional music" and "traditional folk" for folk music not contemporary folk music.

Characteristics

From a historical perspective, traditional folk music has these characteristics:

• It is transmitted through oral tradition. Before the 20th century, ordinary agricultural workers and factory workers were usually illiterate. They got the song by memorizing it. In particular, this is not mediated by books, recordings or transmitted media. Singers can extend their repertoire using broadsheets, or songbooks, but these secondary improvements have the same characteristics as the main songs experienced in the meat.
• Music is often associated with national culture. It's culturally special; of a particular region or culture. In the context of immigrant groups, folk music acquires an extra dimension to social cohesion. This is particularly striking in immigrant societies, where the Greeks of Australia, the Somali Americans, the Canadian Punjabs, and others try to emphasize their differences from the mainstream. They learn songs and dances that come from the country of origin of their grandparents.
• They commemorate historical and personal events. On certain days of the year, such as Easter, May, and Christmas, certain songs celebrate the annual cycle. Weddings, birthdays, and funerals can also be recorded with special songs, dances, and costumes. Religious festivals often have components of folk music. The choir music at the event brought children and non-professional singers to participate in the public arena, providing an emotional bond unrelated to the aesthetic quality of music.
• Songs have been performed, as is customary, for long periods of time, usually several generations.

As a side effect, the following characteristics sometimes exist:

• There is no copyright on the songs. Hundreds of folk songs from the 19th century have been known authors but continue in oral tradition to the point where they are considered traditional for the purposes of music publishing. This has become much less frequent since the 1940s. Today, almost every recorded folk song is credited with an arranger.
• Cultural mix: Because cultures interact and change over time, traditional songs that evolve over time can combine and reflect the influences of different cultures. Relevant factors may include instrumentation, barrel, voicings, sentences, subject matter, and even production methods.

Terminology

Tune

In folk music, tune is a short instrumental part, a melody, often with repetitive parts, and is usually played multiple times. A collection of songs with structural similarities is known as the tune family. America's Musical Landscape says "the most common form for songs in folk music is AABB, also known as binary".

In some traditions, the tone can be strung together in a medley or "set".

Origins

Throughout much of human prehistory and history, listening to recorded music is not possible. Music is made by ordinary people during their work and leisure time, as well as during religious activities. The work of economic production is often manual and communal. Manual work often includes singing by the workers, who serve several practical purposes. This reduces the boredom of repetitive tasks, maintains rhythm during synchronized drives and pulls, and regulates the pace of many activities such as planting, weeding, harvesting, threshing, weaving, and grinding. In their spare time singing and playing a musical instrument is a common form of entertainment and history telling - even more commonly than today, when electrically and literally electrically activated technology makes entertainment and information sharing more competitive.

Some believe that folk music originates as a modified art of music and may be degraded by oral transmission, while reflecting the character of the society that produced it. In many societies, especially those not yet conserved, the transmission of folk music culture requires learning through the ears, although notation has developed in some cultures. Different cultures may have a different understanding of the division between "people" music on the one hand and "art" and "court" music on the other. In the development of the popular music genre, some traditional folk music became also called "World music" or "Roots music".

The English term "folklore", to describe traditional folk music and dance, enters the vocabulary of many continental European countries, each with its own collector and folk-song revivalist. The difference between "original" and national and popular songs is generally loose, especially in America and Germany - for example popular songwriters like Stephen Foster can be called "people" in America. The definition of the International Folk Music Council allows this term also to be applied to music which, "... derives from an individual composer and then is absorbed into an unwritten and living community tradition, but this term does not include songs, dancing, or harmonies that have taken over the finished and remain unchanged. "

The rise of post-World War II peoples in America and in Britain embarked on a new genre, contemporary folk music, and brought additional meaning to the term "folk music": newly created songs, still in form and by known authors who imitate some form of traditional music. The popularity of the recording of "contemporary folk" led to the emergence of the "Folk" category at the 1959 Grammy Awards: in 1970 the term was dropped for "Best Traditional or Ethnic Record (including Traditional Blues)", while 1987 brought the distinction between "The Best Traditional People's Record" and " Recording of the Best Contemporary People ". After that, they have the category of "Traditional music" which later evolved into another. The term "people", at the beginning of the 21st century, can include singer-songwriters, such as Donovan of Scotland and America Bob Dylan, who appeared in the 1960s and more. This completes the process to where "folk music" no longer merely means traditional folk music.

Subject

Traditional folk music often incorporates words that are sung, although folk instrumental music generally appears in the dance music tradition. Narrative verses overshadow the great traditional traditional music of many cultures. It includes forms such as traditional epic poetry, mostly intended initially for oral performances, sometimes accompanied by instruments. Many epic poems of different cultures are united from short pieces of traditional narrative text, which describe their episodic structure, repetitive elements, and their frequent development of media plots. Other forms of traditional narrative relate the outcome of combat or describe tragedies or natural disasters.

Sometimes, as in the Song of Deborah victories found in the Bible The Book of Judges , these songs celebrate victory. Laments for lost wars and wars, and life lost in them, are equally prominent in many traditions; this grievance sustains the cause of the struggle being fought for. Narratives of traditional songs often also remember folk heroes like John Henry or Robin Hood. Some traditional song narratives recall supernatural events or mysterious deaths.

Hymns and other forms of religious music often come from tradition and unknown. Western music notation was originally created to preserve the Gregorian chant line, which before its discovery was taught as an oral tradition in the monastic community. Traditional songs such as Green grow in a hurry, O presenting religious knowledge in the form of mnemonics, as well as Western christmas songs and similar traditional songs.

Work songs often feature call structure and responses and are designed to allow the workers who sing to coordinate their efforts according to the rhythm of the song. They are often, but not always organized. In the American army, a vivid oral tradition maintains the call of jody ("Duckworth's song") sung as the army is on its way. Professional seafarers make similar use of the large bodies of sea shanties. Love poetry, which is often tragic or repentant, stands out in many folk traditions. The nonsensical rhymes and verses that are used to entertain or soothe children are also often the subject of traditional songs.

Transformation and variations of folk songs

Music transmitted through word of mouth through the community, in time, develops many variants, because this type of transmission can not produce accurate verbatim and notes to record. Indeed, many traditional singers are quite creative and deliberately modify the material they are learning.

For example, the words "I'm a Human You Do not Meet Every Day" (Roud 975) are known from a wide side in the Bodleian Library. The date is almost certain before 1900, and seems to be Irish. In 1958 the song was recorded in Canada (My name is Pat and I'm Proud of It). Scottish travelers, Jeannie Robertson from Aberdeen, made the next recording version in 1961. He has changed it to refer to "Jock Stewart", one of his relatives, and no Irish references. In 1976, Scottish artist Archie Fisher deliberately changed the song to remove references to a shot dog. In 1985, Pogues took a full circle by returning all Irish references.

Since variants breed naturally, it is naive to believe that there is such a single "original" version of ballads as "Barbara Allen". Field researchers in traditional songs (see below) have found countless versions of these ballads throughout the English-speaking world, and these versions are often very different from each other. No one can reliably claim to be the original, and it is possible that the "original" version is no longer sung centuries ago. Many versions can provide the same claim to authenticity.

Cecil Sharp, an influential folklor, feels that this variant of a competing traditional song will undergo a process of improvement similar to biological natural selection: only the most exciting new variant for an ordinary singer to be captured by others and transmitted in time. Thus, over time we will expect each traditional song to be more aesthetically appealing - it will be collectively composed for perfection, as it is, by society.

The literary importance in the form of a popular ballad dates back at least to Thomas Percy and William Wordsworth. The composers Elizabeth and Stuart of England often develop their music from folk themes, classic suites based on folk dances, and the use of the melody of the people of Joseph Haydn. But the emergence of the term "the people" coincides with a very strong "national feeling throughout Europe" in the periphery of Europe, where national identity is most asserted. Nationalist composers appeared in Central Europe, Russia, Scandinavia, Spain and England: Dvo music? ÃÆ'k, Smetana, Grieg, Rimsky-Korsakov, Brahms, Liszt, de Falla, Wagner, Sibelius, Vaughan Williams, BartÃÆ'³k, and many others are interested in the melody of the people.

Regional form

While the loss of traditional folk music in the face of the rise of popular music is a worldwide phenomenon, it does not happen at a uniform level throughout the world. This process is most advanced "where industrialization and commercialization of the most advanced culture" but also occurs more gradually even in the setting of lower technological progress. However, the loss of traditional music slows down in countries or regions where traditional folk music is a badge of cultural or national identity, for example in the case of Bangladesh, Hungary, India, Ireland, Pakistan, Scotland, Latvia, Turkey, Portugal, Brittany, Galicia, Greece, and Crete. Tourism revenue can provide a strong incentive to preserve local cultural differences. Local governments often sponsor and promote performances during tourist seasons, and revive lost traditions.

Early folk music, fieldwork and scholarship

Much of what is known about folk music before the development of audio recording technology in the 19th century came from fieldwork and the writings of scholars, collectors and supporters.

19th century Europe

Beginning in the 19th century, amateur scholars and scholars, paying attention to lost musical traditions, embarked on various attempts to preserve folk music. One such attempt was a collection by Francis James Child in the late 19th century from the text of more than three hundred ballads in English and Scottish traditions (called Ballads of Children), some of which preceded the 16th century.

Lingering with the Children, Pastor Sabine Baring-Gould and then Cecil Sharp work to preserve many traditional rural English songs, music and dance, under the protection of what became and remain the Folk Dance and Song Society (EFDSS) of England. Sharp campaigned with some success to have traditional English songs (in highly edited and eliminated versions) to teach to schoolchildren in hopes of reviving and extending the popularity of the songs. Throughout the 1960s and early into the mid-1970s, American scholar Bertrand Harris Bronson published a complete four-volume collection of well-known variations of texts and songs associated with what came to be known as the Canon Child. He also proposed several important theories about the workings of oral-aural traditions.

Similar activities are also taking place in other countries. One of the most extensive is probably the work done in Riga by Baron Krisjanis, who between 1894 and 1915 published six volumes covering the texts of 217,996 Latvian folk songs, Latvju dainas . In Norway the work of collectors like Ludvig Mathias Lindeman is widely used by Edvard Grieg in his book Lyric Pieces for pianos and in other works, which are becoming very popular.

Around this time, classical music composers developed a strong interest in collecting traditional songs, and a number of remarkable composers did their own fieldwork on traditional music. These include Percy Grainger and Ralph Vaughan Williams in England and BÃÆ'Ã… © la BartÃÆ'³k in Hungary. This composer, like many of his predecessors, both made arrangements of folk songs and incorporated traditional materials into the original classical compositions. The Latviju dainas is widely used in classical choir works Andrejs Jurers, J'nis Cimze, and Emilis Melngailis.

North America

The advent of audio recording technology provided folklorists with a revolutionary tool to preserve the elimination of musical forms. The earliest scholar of American folk music was the American Folklore Society (AFS), which appeared in the late 1800s. Their study expanded to include Native American music, but still treats folk music as historic objects preserved in isolated societies as well. In North America, during the 1930s and 1940s, the Library of Congress worked through the offices of traditional music collectors Robert Winslow Gordon, Alan Lomax, and others to capture as much of the North American field material as possible. Lomax is the first leading scholar to study American folk music such as the southern blacks and cowboys. His first major work published was in 1911, Cowboy Songs and Other Border Ballads . and arguably the most prominent US public music scholar of his time, especially during the early revival of folk music in the 1930s and early 1940s. Cecil Sharp also worked in America, recording traditional songs of the Appalachian Mountains in 1916-1918 in collaboration with Maud Karpeles and Olive Dame Campbell and was considered the first major scholar to cover American folk music. Campbell and Sharp are represented by another name by the actor in modern film Songcatcher .

One of the strong themes among folk scholars in the early decades of the 20th century was regionalism, the analysis of the diversity of folk music (and related cultures) based on the United States rather than based on the historical roots of the songs given. Then, class dynamics and circumstances are added to this. The most prominent regionalists are literary figures with a special interest in folklore. Carl Sandburg often traveled to the US as a writer and poet. He also collected songs on his journey and, in 1927, published them in an American Songbag book. "In his collection of folk songs, Sandburg adds a dynamic class to popular understanding of American folk music.This is the last element of the foundation upon which early folk music revivalists construct their own view of Americanism.The Sandburg American working class joins ethnically, racially, and diverse citizens, other scholars, public intellectuals, and folklore celebrate their own definitions of the American people, a definition that people's revivalists use to build their own understanding of American folk music and a comprehensive American identity. "

Before the 1930s, the study of folk music was primarily a province of scholars and collectors. The 1930s saw the beginnings of larger-scale themes, similarities, themes, and interrelationships in folk music developed in society and practitioners as well, often associated with the Great Depression. Regionalism and cultural pluralism grew as influences and themes. During this time folk music began to melt with themes and movements of social and political activism. Two related developments are the United States Communist Party's interest in folk music as a way of reaching and influencing Americans, and politically active politicians and intellectuals see communism as a better system, through the lens of the Great Depression. Woody Guthrie exemplifies songwriters and artists with such views.

The folk music festival mushroomed during the 1930s. President Franklin Roosevelt is a fan of folk music, organizing folk concerts in the White House, and often patronizing folk festivals. One of the prominent festivals is the National People's Festival Sarah Gertrude Knott, founded in St. Petersburg. Louis, Missouri in 1934. Under the sponsor of the Washington Post, the festival was held in Washington, DC in the Constitution Hall from 1937-1942. Movement of folk music, festivals, and war effort is seen as a force for social goods such as democracy, cultural pluralism, and the abolition of cultures and racial-based barriers.

American folk music revivalists in the 1930s approached folk music in different ways. Three basic schools of thought emerged: "Traditionalist" (eg Sarah Gertrude Knott and John Lomax) emphasized the preservation of the song as a deceased cultural artefact. Functionalist "Folklorists" (eg Botkin and Alan Lomax) state that songs only maintain relevance when used by cultures that retain the tradition that gave birth to the songs. The "Left-wing" people's revivalists (eg Charles Seeger and Lawrence Gellert) emphasize the role of music "in the struggle" of people "for social and political rights". By the end of the 1930s this and the others had turned American folk music into a social movement.

Sometimes folk musicians become scholars and defend themselves. For example, Jean Ritchie (born in 1922) is the youngest of the extended family of Viper, Kentucky who has kept many traditional ancient Appalachian songs. Ritchie, who lived in a time when Appalachian had opened up to outside influences, educated the university and eventually moved to New York City, where he made a number of classic recordings of the family repertoire and published important compilations of these songs. (See also Hedy West)

In January 2012, the American Folklife Center at the Library of Congress, with the Association for Cultural Equity, announced that they would release Lomax's big 1946 archive and then record it in digital form. Lomax spent the last 20 years of his life working on an interactive multimedia educational computer project he called Global Jukebox, which included 5,000 hours of sound recording, 400,000 movie footage, 3,000 videocassettes, and 5,000 photos. Until March 2012, this has been achieved. Approximately 17,400 Lomax recordings from 1946 and then have been available online for free. This material from the independent archive of Alan Lomax, started in 1946, which has been digitized and offered by the Association for Cultural Equity, is "different from the thousands of previous recordings on acetate and aluminum discs it made from 1933 to 1942 under the auspices of the Library of Congress, This early collection - which includes the famous Jelly Roll Morton, Woody Guthrie, Lead Belly, and Muddy Waters, as well as the fabulous Lomax collection made in Haiti and Eastern Kentucky (1937) - is the origin of American Folklife Center "in the congress library.

National and regional shape

Africa

Africa is a vast continent and its territory and countries have different musical traditions. North African music for the most part has a different history from the Sub-Saharan African music tradition.

Music and dance form from African diaspora, including African American music and many Caribbean genres such as soca, calypso and Zouk; and Latin American music genres such as samba, Cuban rumba, salsa; and other clone genres (rhythm), established for various levels on African slave music, which in turn influenced popular African music.

Asia

Many Asian civilizations distinguish between classical art/palace/style and "people's" music, though cultures that are less dependent on notation and have many anonymous music should distinguish them differently from those suggested by western scholars. For example, the late Alam Lohar is a good example of a popular South Asian classical folk singer. Khunung Eshei/Khuland Eshei is an ancient folk song Meiteis of Manipur that has defended it for thousands of years.

Chinese folk music

The discovery of archeology dates Chinese folk music back 7000 years; it's mostly based on pentatonic scales.

Traditional wedding Han and cemetery usually include a form of oboe called suona and apercussive ensemble called chuigushou. Ensemble consists of organs (sheng), shawms (suona), flute (dizi) and percussion instruments (especially yunluo gong) popular in the northern villages; Their music is derived from the music of Beijing's imperial temple, Xi'an, Wutai shan and Tianjin. Xi'an drum music, which consists of wind and percussion instruments, is popular around Xi'an, and has received some commercial popularity outside of China. Another important instrument is sheng, pipe, ancient instrument which is the ancestor of all Western-free reed instruments, such as accordion. The parade led by Western-style brass bands is common, often competing in volume with shawm/chuigushou bands.

In southern Fujian and Taiwan, Nanyin or Nanguan is a traditional ballad genre. They are sung by a woman accompanied by xiao and pipes, as well as other traditional instruments. Music is generally sad and usually associated with a beloved woman. Further south, in Shantou, Hakka and Chaozhou, erxian and zheng ensembles are very popular. Ansum's Porch uses a flute and bends or strum a string instrument to create harmonious and melodious music that has become popular in the West among some listeners. It is popular in Nanjing and Hangzhou, as well as elsewhere along the southern Yangtze region. Sizhu has been secularized in cities but remains spiritual in rural areas. Jiangnan Sizhu (bamboo silk and bamboo music from Jiangnan) is an instrumental style of music, often played by amateur musicians in tea houses in Shanghai; has been widely known outside its place of origin. Guangdong Music or Cantonese Music is an instrumental music from Guangzhou and its surroundings. It is based on Yueju (Cantonese) music, along with new compositions from 1920 onwards. Many parts have influence from jazz and western music, using syncopation and time three times. It tells stories, myths, and legends.

Traditional traditional music of Sri Lanka

The genre of Sri Lankan music is known as Oriental music. Sri Lankan art, music and dance come from natural elements, and have been enjoyed and developed in Buddhist circles. The music consists of several types and uses only a few instruments. Folk songs and poetry are used in social gatherings to work together. Indians who influence classical music have grown to be unique. Drama, music, and traditional songs are usually Sri Lankan. The paintings and carvings of the temple use birds, elephants, wild animals, flowers and trees, and Traditional Dances 18 featuring bird and animal dances. As an example:

• Mayura WannamaÃ, - Peacock dance
• Hanuma WannamaÃ, - Monkey dance
• Gajaga WannamaÃ, - Elephant dance

Music types include:

• Local drama music includes Pool, Nadagam and Noorthy types. The music pool is based on a low state tone especially to accompany the mask dance in the ritual of exorcism. It is considered less developed/developed, in accordance with the folk tradition and preserving the more ancient artform. It is limited to about 3-4 records and is used by ordinary people for fun and entertainment.
• Music Nadagam is a more developed form of drama that is influenced by South Indian street dramas introduced by some South Indian artists. Phillippu Singho of Negombo in 1824 Conducting "Harishchandra Nadagama" in Hnguranketha originally written in Telingu. Then "Maname", "Sanda kinduru" and a few others were introduced. Don Bastian of Dehiwala introduced the first Noorthy by seeing the Indian drama and then John De Silva developed it as did Ramayanaya in 1886.
• Sinhala light music today is the most popular type of music in Sri Lanka and is enriched with the influences of folk music, pool music, musical instruments, inimitable music, film music, classical music, western music and more. Some artists visit India to study music and then start introducing light music. Ananda Samarakone is this pioneer and also composes the national anthem.

The classic Sinhala Orchestra consists of five categories of instruments, but among percussion instruments, drums are essential for dancing. The vibrant rhythm of the drum rhythm forms the basis of the dance. The dancers' feet are bouncing off the floor and they are jumping and spinning in patterns that reflect the rhythmic beat of the drum beats. This drum beats may seem simple to the first hearing but take a long time to master the complex rhythms and variations, which can sometimes be drummer with high intensity. There are six common types of drums that fall in 3 styles (one face, two faces, and a flat face):

• The typical Sinhalese dance is identified as a Kandyan dance and Gatabera drum is essential for this dance.
• The fallow is a vicious drum or drum used in a low-key village dance where dancers wear masks and perform satanic dances, which has become a highly developed art form.
• Dawula is a drum shaped keg, and it was used as a companion drum in the past, to keep the time tight with a tap.
• The Thammattama is a flat, double-faced drum. The drummer kicks the drum on two surfaces above with a stick, unlike the other where you drum on the sides. This is the companion drum for Dawula mentioned earlier.
• A small double-clenched fist, used to accompany the song. This is mostly heard in poetry dance (vannam).
• Rabana is a flat-faced flat drum and has several sizes. Large rabbits should be placed on the floor like round-legged tables and some (especially women) can sit around and beat them with both hands. It is used in festivals such as the Sinhala New Year and ceremonies such as weddings. The loud rap from Rabana symbolizes the excitement of the event. Little Rabana is a form of drum beat, because the player takes him wherever he goes.

Other instruments include:

• The "Thalampata" - 2 small cymbals join together with a rope.
• The wind section, dominated by instruments similar to clarinets. It's usually not used for dance. This is important to note because the Sinhalese dance is not set for music as the western world knows it; rhythm is king.
• Flutes of metal such as silver & amp; brass produce shrill music to accompany Dances Kandyan, while the strains of musical tones from the reed flute can penetrate the air in a demonic dance. Conch-shell (Hakgediya) is another form of natural instrument, and players blow it to announce the grand opening of the ceremony.
• The Ravanahatha (ravanhatta, rawanhattha, ravanastron or ravana hasta veena) is a popular violin in western India. It is believed to have originated among the civilizations of Hela Sri Lanka during the time of King Ravana. The bowl is made of coconut shell, its mouth is covered with goat skin. A dandi, made of bamboo, is attached to this shell. The main strings are two: one from steel and the other from a set of horses. Longbow has jingle bells

Australia

The folklore tradition was brought to Australia by early settlers from England, Scotland and Ireland and gained a certain foothold in the countryside. Poetry songs, poetry and fairy tales written in the form of ballads are often associated with the spirit of traveling around Australia in The Bush, and writers and players are often referred to as bush bards. The 19th century was the golden age of bush ballads. Some collectors have made catalogs of songs including John Meredith whose recordings in the 1950s became the basis of collection at the National Library of Australia.

The songs tell the story of personal life in Australia's wide-open country. Common subjects included mine, raising and shepherding cattle, sheep shearing, wandering, war stories, strikes Australia strike in 1891, class conflicts between the landless working class and squatters (landowners), and criminals such as Ned Kelly, and love interests and modern fares such as trucks. The most famous bush ballad is "Waltzing Matilda", which has been called "the unofficial Australian anthem".

Original Australian music includes Australian Aboriginal music and Torres Islanders, collectively known as the Indigenous Australians; combining the distinctive traditional musical styles practiced by indigenous Australians, as well as various styles and fusion of contemporary music with European traditions interpreted and performed by native Australian artists. Music has formed an integral part of the social, cultural and ceremonial ceremonies of this society, up to thousands of years of their individual and collective history to this day. The traditional form includes many aspects of performance and unique musical instrumentation for a particular region or group of Indigenous Australians. The same elements of the musical tradition are common through much of the Australian continent, and even further. The Torres Strait Island culture is related to the adjacent part of New Guinea and so their music is also related. Music is an important part of the maintenance of Indigenous Australian culture.

Europe

Celtic traditional music

Celtic music is a term used by artists, record companies, music stores and music magazines to describe the grouping of musical genres that evolved from the Celtic folk music tradition. These traditions include Irish, Scottish, Manx, Cornish, Welsh, and Breton traditions. Asturian and Galician music is often included, although no significant research has shown that this has a close musical relationship. The rise of the Brittany people began in the 1950s with "bagadoÃÆ'¹" and "kan-ha-diskan" before it developed into world fame through the work of Alan Stivell since the mid-1960s.

In Ireland, The Clancy Brothers and Tommy Makem (although their members are all Irish-born, the group became famous when based in New York's Greenwich Village), The Dubliners, Clannad, Planxty, The Chieftains, The Pogues, The Corrs, The Irish Rovers, and various other folk bands have done a lot of things over the last few decades to revitalize and popularize traditional Irish music. These bands take root, to a greater or lesser extent, in the Irish music tradition and benefit from the efforts of artists such as Seamus Ennis and Peter Kennedy.

In Scotland, The Corries, Silly Wizard, Capercaillie, Runrig, Jackie Leven, Julie Fowlis, Karine Polwart, Alasdair Roberts, Dick Gaughan, Wolfstone, The Boys of the Lough, and The Silencers have made Scottish folk excited and refreshed by mixing traditional Scottish and Gaelic folk songs with more contemporary genres. The artists are also commercially successful in continental Europe and North America. There is a wealth of emerging talent in the world of traditional Scottish music, with bands like MÃÆ'nran, Skipinnish, Barluath and Breabach and solo artists such as Patsy Reid, Robyn Stapleton and Mischa MacPherson successes in recent years.

Central and Eastern Europe

During the communist era, the national folk dance in the Eastern Bloc was actively promoted by the state. Dance groups from Russia and Poland toured non-communist Europe from around 1937 to 1990. The Red Army Choir recorded many albums. Eastern Europe is also the origin of the Jewish Klezmer tradition.

Polka is a central European dance and also a genre of dance music known throughout Europe and America. It dates from the mid-19th century in Bohemia. Polka is still a popular genre of folk music in many European countries and is conducted by folk artists in Poland, Latvia, Lithuania, Czech Republic, Netherlands, Croatia, Slovenia, Germany, Hungary, Austria, Switzerland, Italy, Ukraine, Belarus, Russia and Slovakia. Local varieties of this dance are also found in the Nordic countries, Britain, the Republic of Ireland, Latin America (mainly Mexico), and in the United States.

German Volkslieder immortalized by Liederhandschriften texts such as Carmina Burana dates back to the medieval tradition of Minnesang and Meistersinger. The folk songs were revived at the end of the 18th century from German Romanticism, first promoted by Johann Gottfried Herder and other Enlighteners, later compiled by Achim von Arnim and Clemens Brentano ( Des Knaben Wunderhorn ) as well as by Ludwig Uhland.

Volksmusic and folk dance genres, especially in the areas of the Bavarian Alps, Austria, Switzerland ( Kuhreihen ) and South Tyrol, to date have been attached to rural societies with a background of industrialization - low German shack or Wienerlied > Schrammelmusic ) is an important exception. Slovenian folk music in Upper Carniola and Styria also comes from the Alpine tradition. Traditional Volksmusic not to be confused with the commercial variations VolkstÃÆ'¼mliche Music , strongly associated with German Schlager music.

The Hungarian group MuzsikÃÆ'¡s played many American tours and participated in the Hollywood film The English Patient while singer MÃÆ'¡rta SebestyÃÆ'Â| n worked with Deep Forest band. The Hungarian movement tÃÆ'¡nchÃÆ'¡z , started in the 1970s, involves a strong collaboration between musicologists and enthusiastic amateurs. However, Hungarian traditional folk music and popular culture barely survive in some rural areas of Hungary, and it also begins to disappear among ethnic Hungarians in Transylvania. The tÃÆ'¡nchÃÆ'¡z movement revived the wider folk traditions of music, dance, and costumes together and created a new kind of music club. This movement spread to Hungarian ethnic communities elsewhere in the world.

Balkan Music

Balkan folk music was influenced by the mixing of Balkan ethnic groups in the Ottoman Empire period. It consists of Bosnian and Herzegovina, Bulgarian, Greek, Montenegrin, Serbian, Romanian, Macedonian, Albanian, Turkish, several historic Yugoslavian or Serbian and Montenegrin countries and geographical regions such as Thrace. Some music is characterized by intricate rhythms.

The important acting is The Mystery Of The Bulgarian Voices, which won the Grammy Award in 1989.

An important part of Balkan folk music is music from the local Romanian ethnic minority.

Nordic folk music

Nordic folk music includes a number of traditions in Northern Europe, especially Scandinavia, the country. Nordic countries are generally taken to include Iceland, Norway, Finland, Sweden and Denmark. It is sometimes taken to include Greenland and historically the Baltic states of Estonia, Latvia and Lithuania.

Many areas of the Nordic countries share a certain tradition, many of which have significantly deviated. It is possible to group Baltic countries (or, occasionally, Estonia only) and parts of northwestern Russia as shared cultural similarities, compared to Norway, Sweden, Denmark and the Atlantic islands, Iceland and the Faroe Islands. The Inuit culture Greenland has its own musical tradition, influenced by Scandinavian culture. Finland shares many cultural similarities with both the Baltic states and the Scandinavian countries. Saami from Sweden, Norway, Finland and Russia have their own unique culture, with ties to neighboring cultures.

Swedish folk music is a genre of music largely based on the work of folkloric collections beginning in the early 19th century in Sweden. The main instrument of Swedish folk music is the violin. Another common instrument, unique to the Swedish tradition, is nyckelharpa. Most Swedish instrumental folk music is dance music; the distinctive form of music and dance in Swedish folk music is polska. Swedish vocal and instrumental traditions tend to share historical tones, although they have been done separately. Starting with a revival of folk music of the 1970s, vocalists and instrumentalists also began performing together in the folk music ensemble.

Latin and South America

American folk music consists of meetings and unification of three main types of music: traditional European music, traditional Native American music and African tribal music arriving among slaves, the main distinction comprising a special kind of each of these major slopes..

Certain cases of Latin and South American music point to Andean music among other native music styles (such as Caribbean, pampean and selvatic), Iberean music (Spain and Portugal) and in general African tribal music, which coalesce together in the form of music different across South and Central America.

Andean music comes from a common area inhabited by Quechuas, Aymaras and others who were roughly in the Inca Empire before European contacts. These include folk music from parts of Argentina, Bolivia, Ecuador, Chile, Colombia, Peru and Venezuela. Andean music is popular for different degrees in Latin America, having a core public in rural areas and among indigenous people. The Nueva CanciÃÆ'³n movement of the 1970s revived the genre throughout Latin America and purchased it to unknown or forgotten places.

Nueva canciÃÆ'³n (Spanish for 'new song') is a movement and genre in Latin American and Iberian folk music of folk music, socially inspired music and socially committed music. It's some respect for its development and its role is similar to the revival of second folk music. This includes the evolution of this new genre from traditional folk music, essentially contemporary folk music except that the term English genre is not commonly applied to it. Nueva cancion is recognized to have played a strong role in social upheaval in Portugal, Spain and Latin America during the 1970s and 1980s.

Nueva first appeared in the 1960s as "Chile's New Song" in Chile. The style of music emerged shortly thereafter in Spain and other regions of Latin America which came to be known by a similar name. Nueva canciÃÆ'³n renews traditional Latin American folk music, and is soon associated with revolutionary movements, the New Latin Left movement, Theological Liberation, hippie and human rights due to political lyrics. It will gain great popularity throughout Latin America, and is considered a precursor to Rock en espaà ± a ol.

Cueca is a family of music and dance styles associated from Chile, Bolivia, Peru and Argentina.

Trova and Son is a traditional Cuban style of music originating from the Oriente province that includes influences from Spanish songs and dances such as Bolero and contrasza as well as elements of Afro-Cuban rhythms and percussion.

Moda de viola is a name designed for Brazilian folk music. Often done with a 6-string nylon acoustic guitar, but the most traditional instrument is the viola caipira. The songs basically illustrate the violent lives of those working in this country. Themes are usually associated with land, animals, folklore, love and an impossible farewell. Although there are some cheerful songs, most of them are nostalgic and melancholy.

North America

Canada

Canadian traditional folk music is very diverse. Even before liberalizing its immigration laws in the 1960s, Canada was ethnically diverse with dozens of different Indigenous and European groups. In terms of music, academics do not talk about Canadian traditions, but rather ethnic traditions (Acadian music, Irish-Canadian music, Blackfoot music, Innu music, Inuit music, MÃÆ' Â © tis fiddle, etc.) and later in the Eastern Canada tradition Newfoundland, Cape Breton tinkering, Quebec music, etc.)

Traditional folk music from Europe has been present in Canada since the arrival of the first French and British settlers in the 16th and 17th centuries.... They lured coastal waters and planted the shores of Newfoundland, Nova Scotia, New Brunswick, Prince Edward Island, and the valley of St. Lawrence River in Quebec.

The trade of feathers and voyages brought this further north and west to Canada; the later sluggish operation and the lumberjack continue this process.

Agrarian settlements in eastern and southern Ontario and western Quebec in the early 19th century formed a favorable environment for the survival of many Anglo-Canadian and wide ballads from Britain and the United States. Despite the massive industrialization, the folk music tradition has been taking place in many areas to this day. In northern Ontario, the large Franco-Ontarian population houses folk French living music.

The vast Acadian community of the Atlantic province contributes their variant of songs to a large French folk music corps based in the province of Quebec. The rich sources of Anglo-Canadian folk music can be found in the Atlantic region, especially Newfoundland. Complementing this musical folklore mosaic is Scottish Gaelic settlement music, especially in Cape Breton, and hundreds of Irish songs whose presence in eastern Canada comes from the Irish famine of the 1840s, which forced the great Irish migration to North America.

"Knowledge of Canadian history," wrote Isabelle Mills in 1974, "is very important in understanding the mosaic of Canadian folk songs, part of which is supplied by Canadian folk songs brought by European and Anglo-Saxon entrants to new settlers. " He described how the French colonies at QuÃÆ' Â © bec brought French immigrants, followed by the waves of immigrants from Britain, Germany and other European countries, all carrying music from their homeland, some of which survived to this day. Ethnographer and folklorist Marius Barbeau estimated that over ten thousand French folk songs and their variants have been collected in Canada. Many of the older have died in France.

Music as a nationalized paid entertainment grew relatively slowly in Canada, especially remote rural areas, up to the late 19th and early 20th centuries. While in the urban music clubs in the diverse dance/vaudeville hall became popular, followed by jazz, rural Canada remains largely a land of traditional music. But when American radio networks began broadcasting to Canada in the 1920s and 1930s, audiences for traditional Canadian music declined for Nashville-style country music and urban style like jazz. Americanized Canadian music led the Canadian Radio League to lobby for a national public broadcaster in the 1930s, leading eventually to the establishment of the Canadian Broadcasting Corporation (CBC) in 1936. The CBC promoted Canadian music, including traditional music, on radio and later television services, but the medieval craze for all things "modern" led to the decline of folk music relative to rock and pop. However Canada was influenced by the rise of folk music of the 1960s, when local venues such as the Montreal Folk Workshop, and other folk clubs and coffee shops across the country, became a melting pot for emerging songwriters and artists as well as for exchange with artists visiting from abroad.

United States

"Resurrection of folk music" refers to a period of renewed interest in traditional folk music, or events or periods that change it; the latter usually includes components of social activism. A prominent example of the first is the rise of the British people around 1890-1920. The most prominent and influential example of the latter (so far as the so-called " the revival of folk music") is a revival of the mid-twentieth century, centered in an English-speaking world that gave birth to contemporary folk music. See the article "Contemporary folk music" for a description of this revival.

The previous awakening influenced western classical music. Composers like Percy Grainger, Ralph Vaughan Williams and BÃÆ' Â © la BartÃÆ'³k, made field recordings or transcriptions of folk singers and musicians.

In Spain, Isaac Albà ©n niz (1860-1909) produced piano works reflecting his Spanish heritage, including Iberian Suite (1906-1909). Enrique Granados (1867-1918) consists of zarzuela , light opera Spanish, and Danzas Espaà ± a - Spanish dance. Manuel de Falla (1876-1946) became interested in cante jondo of Andalusian flamenco, whose influence is felt in many of his works, which include the Night in the Gardens of Spain and Siete canciones populares espaÃÆ'  ± olas ("Seven Spanish Folksongs", for sound and piano). Composers like Fernando Sor and Francisco Tarrega founded the guitar as a national instrument of Spain. Modern Spanish folk artists abound (Mil i Maria, Russia Red, et al.) Modernize while respecting the traditions of their ancestors.

Flamenco grew in popularity in the 20th century, as did northern styles such as Celtic music in Galicia. The French classical composers, from Bizet to Ravel, also attract Spanish themes, and a distinctive Spanish genre becomes universally recognized.

The rise of folk music or revival also includes phenomena around the world where there is a renewed interest in traditional music. This is often by young people, often in the traditional music of their own country, and often includes the new incorporation of social awareness, the causes, and the evolution of new music in the same style. Nueva canciÃÆ'³n, a similar evolution of a new form of socially committed music takes place in several Spanish speaking countries.

The rise of the first English people

The rise of the "first" English people was a roots revival that took place around 1890-1920 and was characterized by a high interest in traditional music and its preservation. This arose from earlier developments, perhaps combined with a change in the nature of British identity, led to more intensive and academic efforts to record what was seen as a lost tradition, and is now commonly referred to as Britain's first or British renaissance..

Maps Folk music

Contemporary folk music

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Festival

United States

It is sometimes claimed that the earliest folk festival is the Dance Festival and Folk Mountain, 1928, in Asheville, North Carolina, founded by Bascom Lamar Lunsford. The National Folk Festival (USA) is a traveling folk festival in the United States. Since 1934, it has been run by the National Council for Traditional Arts (NCTA) and has been presented in 26 communities across the nation. After leaving some of these communities, the National Folk Festival has separated some locally held folk festivals behind it including the Lowell Folk Festival, the Richmond People's Festival, the American People's Festival and, most recently, the Montana People's Festival.

The Newport Folk Festival is an annual folk festival held near Newport, Rhode Island. It ran most years from 1959 to 1970, and 1985 until now, with the presence of about 10,000 people.

The four-day Philadelphia People's Festival began in 1962. The event is sponsored by the non-profit Folksong Society Society. The show hosts contemporary and traditional artists in the genre including World/Fusion, Celtic, Singer/Songwriter, Folk Rock, Country, Klezmer, and Dance. It is held annually on the third weekend of August. The event is now attended by around 12,000 visitors, presenting the band on 6 stages.

Hunter Moon Party in Indiana attracts about 60,000 visitors per year.

United Kingdom

The Sidmouth Festival began in 1954, and the Cambridge Folk Festival began in 1965. The Cambridge Folk Festival in Cambridge, England is famous for having a very broad definition of who can be invited as a folk musician. "The tent club" allows participants to find a large number of unknown artists, who, for ten or 15 minutes each, present their work to the festival goers.

Australia

The National Folk Festival is Australia's premier folk event and is attended by over 50,000 people. The Woodford Folk Festival, the National Folk Festival, and the Port Fairy Folk Festival are among Australia's biggest annual events, attracting many of the top international artists as well as many local artists.

Canada

Stan Rogers is an enduring fixture of the Summerfolk Canadian folk festival, held annually at Owen Sound, Ontario, where the main stage and amphitheater are dedicated as "Stan Rogers Memorial Canopy". The festival remains in tradition, with the song Rogers "The Mary Ellen Carter" sung by all involved, including the audience and the action medley at the festival. The Canmore Folk Music Festival is the longest folk music festival in Alberta.

More

Urkult NÃÆ'¤sÃÆ'  ¥ ker, ÃÆ'â € | ngermanland which is held in August each year is said to be the largest music festival in Sweden.

src: c8.alamy.com

See also

• An American Folk Music Anthology
• Canadian People's Music Awards
• People process
• List of classical music and art traditions
• List of folk festivals
• Roud Folk Song Index
• Voice of the People anthology of British folk songs

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Notes and references

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References

This reference is quoted above with some short quotes with various locations.

• Donaldson, Rachel Clare, 2011 Music for the People: Revival of People's Music and American Identity, 1930-1970 , Ph.D. Dissertation, Vanderbilt University, May 2011, Nashville, Tennessee
• Gilliland, John (1969). "Blowin 'in the Wind: Pop finds folk music" (audio) . Pop Chronicles . University of North Texas Library. Source of the article : Wikipedia