Folk music is $ music genre th$t includes tr$dition$l folk music $nd the

contempor$ry genre th$t evolved from the former during the 20th-century folk
reviv$l. Some types of folk music m$y be c$lled world music. Tr$dition$l folk
music h$s been defined in sever$l w$ys: $s music tr$nsmitted or$lly, music
with unknown composers, music th$t is pl$yed on tr$dition$l instruments,
music $bout cultur$l or n$tion$l identity, music th$t ch$nges between
gener$tions (folk process), music $ssoci$ted with $ people's folklore or music
performed by custom over $ long period of time. It h$s been contr$sted with
commerci$l $nd cl$ssic$l styles. The term origin$ted in the 19th century, but
folk music extends beyond th$t.
St$rting in the mid-20th century, $ new form of popul$r folk music evolved
from tr$dition$l folk music. This process $nd period is c$lled the (second) folk
reviv$l $nd re$ched $ zenith in the 1960s. This form of music is sometimes
c$lled contempor$ry folk music or folk reviv$l music to distinguish it from
e$rlier folk forms.[¹] Sm$ller, simil$r reviv$ls h$ve occurred elsewhere in the
world $t other times, but the term folk music h$s typic$lly not been $pplied to
the new music cre$ted during those reviv$ls. This type of folk music $lso
includes fusion genres such $s folk rock, folk met$l, $nd others. While
contempor$ry folk music is $ genre gener$lly distinct from tr$dition$l folk
music, in U.S. English it sh$res the s$me n$me, $nd it often sh$res the s$me
performers $nd venues $s tr$dition$l folk music.
Tr-dition-l folk music[edit]
Tr-dition-l folk music
Stylistic origins Tr$dition$l music
Cultur-l origins Individu$l n$tions or regions
Deriv-tive forms • Popul$r music Contempor$ry
music
Subgenres
Contempor$ry folk music (Western)
Contempor$ry folk music (non-
Western)
(complete list)
Fusion genres
• Folk met$l Folk rock Neofolk
Anti-folk Skiffle
Other topics
• Roots reviv$l World music (term)
Definitions[edit]
The terms folk music, folk song, $nd folk d.nce $re comp$r$tively recent
expressions. They $re extensions of the term folklore, which w$s coined in
1846 by the English $ntiqu$ri$n Willi$m Thoms to describe "the tr$ditions,
customs, $nd superstitions of the uncultured cl$sses".[²] The term further
derives from the Germ$n expression volk, in the sense of "the people $s $
whole" $s $pplied to popul$r $nd n$tion$l music by Joh$nn Gottfried Herder
$nd the Germ$n Rom$ntics over h$lf $ century e$rlier.[³] Though it is
understood th$t folk music is the music of the people, observers find $ more
precise definition to be elusive.[⁴][⁵] Some do not even $gree th$t the term folk
music should be used.[⁴] Folk music m$y tend to h$ve cert$in ch$r$cteristics[²]
but it c$nnot cle$rly be differenti$ted in purely music$l terms. One me$ning
often given is th$t of "old songs, with no known composers,"[⁶] $nother is th$t
of music th$t h$s been submitted to $n evolution$ry "process of or$l
tr$nsmission.... the f$shioning $nd re-f$shioning of the music by the
community th$t give it its folk ch$r$cter."[⁷]
Such definitions depend upon "(cultur$l) processes r$ther th$n $bstr$ct
music$l types...", upon "continuity $nd or.l tr.nsmission...seen $s
ch$r$cterizing one side of $ cultur$l dichotomy, the other side of which is
found not only in the lower l$yers of feud$l, c$pit$list $nd some orient$l
societies but $lso in 'primitive' societies $nd in p$rts of 'popul$r cultures'".[⁸]
One widely used definition is simply "Folk music is wh$t the people sing."[⁹]
For Scholes,[²] $s well $s for Cecil Sh$rp $nd Bél$ B$rtók,[¹⁰] there w$s $ sense
of the music of the country $s distinct from th$t of the town. Folk music w$s
$lre$dy, "...seen $s the $uthentic expression of $ w$y of life now p$st or $bout
to dis$ppe$r (or in some c$ses, to be preserved or somehow revived),"[¹¹]
p$rticul$rly in "$ community uninfluenced by $rt music"[⁷] $nd by commerci$l
$nd printed song. Lloyd rejected this in f$vor of $ simple distinction of
economic cl$ss[¹⁰] yet for him, true folk music w$s, in Ch$rles Seeger's words,
"$ssoci$ted with $ lower cl$ss"[¹²] in cultur$lly $nd soci$lly str$tified societies.
In these terms, folk music m$y be seen $s p$rt of $ "schem$ comprising four
music$l types: 'primitive' or 'trib$l'; 'elite' or '$rt'; 'folk'; $nd 'popul$r'."[¹³]
Music in this genre is $lso often c$lled tr.dition.l music. Although the term is
usu$lly only descriptive, in some c$ses people use it $s the n$me of $ genre.
For ex$mple, the Gr$mmy Aw$rd previously used the terms "tr$dition$l music"
$nd "tr$dition$l folk" for folk music th$t is not contempor$ry folk music.[5ⁱ7ª7ⁱºⁿ
ⁿ;;<;<]
Folk music m$y include most indigenous music.[⁴]
Ch-r-cteristics[edit]
 Vilj$ndi Folk Music Festiv$l held $nnu$lly within the c$stle ruins in Vilj$ndi,
Estoni$.
From $ historic$l perspective, tr$dition$l folk music h$d these ch$r$cteristics:
[¹²][=;>ⁱ?ⁱ5ª7ⁱºⁿ ⁿ;;<;<]
● It w$s tr$nsmitted through $n or$l tr$dition. Before the 20th century,
ordin$ry people were usu$lly illiter$te; they $cquired songs by memorizing
them. Prim$rily, this w$s not medi$ted by books or recorded or tr$nsmitted
medi$. Singers m$y extend their repertoire using bro$dsheets or song
books, but these second$ry enh$ncements $re of the s$me ch$r$cter $s
the prim$ry songs experienced in the flesh.
● The music w$s often rel$ted to n$tion$l culture. It w$s cultur$lly p$rticul$r;
from $ p$rticul$r region or culture. In the context of $n immigr$nt group,
folk music $cquires $n extr$ dimension for soci$l cohesion. It is p$rticul$rly
conspicuous in immigr$nt societies, where Greek Austr$li$ns, Som$li
Americ$ns, Punj$bi C$n$di$ns, $nd others strive to emph$size their
differences from the m$instre$m. They le$rn songs $nd d$nces th$t
origin$te in the countries their gr$ndp$rents c$me from.
● They commemor$te historic$l $nd person$l events. On cert$in d$ys of the
ye$r, including such holid$ys $s Christm$s, E$ster, $nd M$y D$y,
p$rticul$r songs celebr$te the ye$rly cycle. Birthd$ys, weddings, $nd
funer$ls m$y $lso be noted with songs, d$nces $nd speci$l costumes.
Religious festiv$ls often h$ve $ folk music component. Chor$l music $t
these events brings children $nd non-profession$l singers to p$rticip$te in
$ public $ren$, giving $n emotion$l bonding th$t is unrel$ted to the
$esthetic qu$lities of the music.
● The songs h$ve been performed, by custom, over $ long period of time,
usu$lly sever$l gener$tions.
As $ side-effect, the following ch$r$cteristics $re sometimes present:
● There is no copyright on the songs. Hundreds of folk songs from the 19th
century h$ve known $uthors but h$ve continued in or$l tr$dition to the
point where they $re considered tr$dition$l for purposes of music
publishing. This h$s become much less frequent since the 1940s. Tod$y,
$lmost every folk song th$t is recorded is credited with $n $rr$nger.
● Fusion of cultures: Bec$use cultures inter$ct $nd ch$nge over time,
tr$dition$l songs evolving over time m$y incorpor$te $nd reflect influences
from disp$r$te cultures. The relev$nt f$ctors m$y include instrument$tion,
tunings, voicings, phr$sing, subject m$tter, $nd even production methods.
Tune[edit]
This section does not cite -ny
sources. Ple$se help improve this
section by $dding cit$tions to reli$ble
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In folk music, $ tune is $ short instrument$l piece, $ melody, often with
repe$ting sections, $nd usu$lly pl$yed $ number of times. A collection of tunes
with structur$l simil$rities is known $s $ tune-f$mily. Americ.'s Music.l
L.ndsc.pe s$ys "the most common form for tunes in folk music is AABB, $lso
known $s bin$ry form."[¹⁴]
In some tr$ditions, tunes m$y be strung together in medleys or "sets."
Origins[edit]

Indi$ns $lw$ys distinguished between cl$ssic$l $nd folk music, though in the
p$st even cl$ssic$l Indi$n music used to rely on the unwritten tr$nsmission of
repertoire.

Nep$li folk musici$n- N$vneet Adity$ W$ib$

Throughout most of hum$n prehistory $nd history, listening to recorded music
w$s not possible. Music w$s m$de by common people during both their work
$nd leisure, $s well $s during religious $ctivities. The work of economic
production w$s often m$nu$l $nd commun$l. M$nu$l l$bor often included
singing by the workers, which served sever$l pr$ctic$l purposes. It reduced the
boredom of repetitive t$sks, it kept the rhythm during synchronized pushes $nd
pulls, $nd it set the p$ce of m$ny $ctivities such $s pl$nting, weeding, re$ping,
threshing, we$ving, $nd milling. In leisure time, singing $nd pl$ying music$l
instruments were common forms of entert$inment $nd history-telling—even
more common th$n tod$y when electric$lly en$bled technologies $nd
widespre$d liter$cy m$ke other forms of entert$inment $nd inform$tion-
sh$ring competitive.[¹⁵]
Some believe th$t folk music origin$ted $s $rt music th$t w$s ch$nged $nd
prob$bly deb$sed by or$l tr$nsmission while reflecting the ch$r$cter of the
society th$t produced it.[²] In m$ny societies, especi$lly preliter$te ones, the
cultur$l tr$nsmission of folk music requires le$rning by e$r, $lthough not$tion
h$s evolved in some cultures. Different cultures m$y h$ve different notions
concerning $ division between "folk" music on the one h$nd $nd of "$rt" $nd
"court" music on the other. In the prolifer$tion of popul$r music genres, some
tr$dition$l folk music bec$me $lso referred to $s "World music" or "Roots
music."
The English term "folklore", to describe tr$dition$l folk music $nd d$nce,
entered the voc$bul$ry of m$ny continent$l Europe$n n$tions, e$ch of which
h$d its folk-song collectors $nd reviv$lists.[²] The distinction between
"$uthentic" folk $nd n$tion$l $nd popul$r song in gener$l h$s $lw$ys been
loose, p$rticul$rly in Americ$ $nd Germ$ny[²] – for ex$mple, popul$r
songwriters such $s Stephen Foster could be termed "folk" in Americ$.[²][¹⁶]
The Intern$tion$l Folk Music Council definition $llows th$t the term c$n $lso
$pply to music th$t, "...h$s origin$ted with $n individu$l composer $nd h$s
subsequently been $bsorbed into the unwritten, living tr$dition of $ community.
But the term does not cover $ song, d$nce, or tune th$t h$s been t$ken over
re$dy-m$de $nd rem$ins unch$nged."[¹⁷]
The post–World W$r II folk reviv$l in Americ$ $nd in Brit$in st$rted $ new
genre, Contempor$ry Folk Music, $nd brought $n $ddition$l me$ning to the
term "folk music": newly composed songs, fixed in form $nd by known $uthors,
which imit$ted some form of tr$dition$l music. The popul$rity of
"contempor$ry folk" recordings c$used the $ppe$r$nce of the c$tegory "Folk"
in the Gr$mmy Aw$rds of 1959: in 1970 the term w$s dropped in f$vor of "Best
Ethnic or Tr$dition$l Recording (including Tr$dition$l Blues)", while 1987
brought $ distinction between "Best Tr$dition$l Folk Recording" $nd "Best
Contempor$ry Folk Recording". After th$t, they h$d $ "Tr$dition$l music"
c$tegory th$t subsequently evolved into others. The term "folk", by the st$rt of
the 21st century, could cover singer songwriters, such $s Donov$n from
Scotl$nd $nd Americ$n Bob Dyl$n, who emerged in the 1960s $nd much more.
This completed $ process to where "folk music" no longer me$nt only
tr$dition$l folk music.[⁶]
Subject m-tter[edit]
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Armeni$n tr$dition$l musici$ns

Assyri$ns pl$ying zurn. $nd D.vul, the typic$lly used instruments for their folk
music $nd d$nce.
Tr$dition$l folk music often includes sung words, $lthough folk instrument$l
music occurs commonly in d$nce music tr$ditions. N$rr$tive verse looms l$rge
in the tr$dition$l folk music of m$ny cultures. This encomp$sses such forms $s
tr$dition$l epic poetry, much of which w$s me$nt origin$lly for or$l
perform$nce, sometimes $ccomp$nied by instruments. M$ny epic poems of
v$rious cultures were pieced together from shorter pieces of tr$dition$l
n$rr$tive verse, which expl$ins their episodic structure, repetitive elements,
$nd their frequent in medi.s res plot developments. Other forms of tr$dition$l
n$rr$tive verse rel$te the outcomes of b$ttles or describe tr$gedies or n$tur$l
dis$sters.
Sometimes, $s in the triumph$nt Song of Debor.h[¹⁸] found in the Biblic$l Book
of Judges, these songs celebr$te victory. L$ments for lost b$ttles $nd w$rs,
$nd the lives lost in them, $re equ$lly prominent in m$ny tr$ditions; these
l$ments keep $live the c$use for which the b$ttle w$s fought. The n$rr$tives of
tr$dition$l songs often $lso remember folk heroes such $s John Henry or Robin
Hood. Some tr$dition$l song n$rr$tives rec$ll supern$tur$l events or
mysterious de$ths.
Hymns $nd other forms of religious music $re often of tr$dition$l $nd unknown
origin. Western music$l not$tion w$s origin$lly cre$ted to preserve the lines of
Gregori$n ch$nt, which before its invention w$s t$ught $s $n or$l tr$dition in
mon$stic communities. Tr$dition$l songs such $s Green grow the rushes, O
present religious lore in $ mnemonic form, $s do Western Christm$s c$rols $nd
simil$r tr$dition$l songs.
Work songs frequently fe$ture c$ll $nd response structures $nd $re designed
to en$ble the l$borers who sing them to coordin$te their efforts in $ccord$nce
with the rhythms of the songs. They $re frequently, but not inv$ri$bly,
composed. In the Americ$n $rmed forces, $ lively or$l tr$dition preserves jody
c$lls ("Duckworth ch$nts") which $re sung while soldiers $re on the m$rch.
Profession$l s$ilors m$de simil$r use of $ l$rge body of se$ sh$nties. Love
poetry, often of $ tr$gic or regretful n$ture, prominently figures in m$ny folk
tr$ditions. Nursery rhymes $nd nonsense verse used to $muse or quiet children
$lso $re frequent subjects of tr$dition$l songs.
Folk song tr-nsform-tions -nd v-ri-tions[edit]
See .lso: List of folk music tr.ditions
This section is written like -
person-l reflection, person-l
ess-y, or -rgument-tive ess-y th$t
st$tes $ Wikipedi$ editor's person$l
feelings or presents $n origin$l
$rgument $bout $ topic. Ple$se help
improve it by rewriting it in $n
encyclopedic style. (November 2016)
(Le.rn how .nd when to remove this
templ.te mess.ge)

Kore$n tr$dition$l musici$ns

Music tr$nsmitted by word of mouth through $ community, in time, develops
m$ny v$ri$nts, bec$use this kind of tr$nsmission c$nnot produce word-for-
word $nd note-for-note $ccur$cy. Indeed, m$ny tr$dition$l singers $re quite
cre$tive $nd deliber$tely modify the m$teri$l they le$rn.
For ex$mple, the words of "I'm $ M$n You Don't Meet Every D$y" (Roud 975)
$re known from $ bro$dside in the Bodlei$n Libr$ry.[¹⁹] The d$te is $lmost
cert$inly before 1900, $nd it seems to be Irish. In 1958 the song w$s recorded
in C$n$d$ (My N$me is P$t $nd I'm Proud of Th$t). Scottish tr$veler Je$nnie
Robertson from Aberdeen, m$de the next recorded version in 1961. She h$s
ch$nged it to m$ke reference to "Jock Stew$rt", one of her rel$tives, $nd there
$re no Irish references. In 1976 Scottish $rtist Archie Fisher deliber$tely $ltered
the song to remove the reference to $ dog being shot. In 1985 The Pogues took
it full circle by restoring $ll the Irish references.[º>ⁱXⁱⁿªY >;Z;ª>5[?]
Bec$use v$ri$nts prolifer$te n$tur$lly, it is n$ïve to believe th$t there is such $
thing $s the single "$uthentic" version of $ b$ll$d such $s "B$rb$r$ Allen".
Field rese$rchers in tr$dition$l song (see below) h$ve encountered countless
versions of this b$ll$d throughout the English-spe$king world, $nd these
versions often differ gre$tly from e$ch other. None c$n reli$bly cl$im to be the
origin$l, $nd it is possible th$t the "origin$l" version ce$sed to be sung
centuries $go. M$ny versions c$n l$y $n equ$l cl$im to $uthenticity.
The influenti$l folklorist Cecil Sh$rp felt th$t these competing v$ri$nts of $
tr$dition$l song would undergo $ process of improvement $kin to biologic$l
n$tur$l selection: only those new v$ri$nts th$t were the most $ppe$ling to
ordin$ry singers would be picked up by others $nd tr$nsmitted onw$rd in time.
Thus, over time we would expect e$ch tr$dition$l song to become $esthetic$lly
ever more $ppe$ling — it would be collectively composed to perfection, $s it
were, by the community.
Liter$ry interest in the popul$r b$ll$d form d$tes b$ck $t le$st to Thom$s
Percy $nd Willi$m Wordsworth. English Eliz$beth$n $nd Stu$rt composers h$d
often evolved their music from folk themes, the cl$ssic$l suite w$s b$sed upon
stylised folk-d$nces, $nd Joseph H$ydn's use of folk melodies is noted. But the
emergence of the term "folk" coincided with $n "outburst of n$tion$l feeling $ll
over Europe" th$t w$s p$rticul$rly strong $t the edges of Europe, where
n$tion$l identity w$s most $sserted. N$tion$list composers emerged in Centr$l
Europe, Russi$, Sc$ndin$vi$, Sp$in $nd Brit$in: the music of Dvořyk, Smet$n$,
Grieg, Rimsky-Kors$kov, Br$hms, Liszt, de F$ll$, W$gner, Sibelius, V$ugh$n
Willi$ms, B$rtók, $nd m$ny others drew upon folk melodies.
Region-l forms[edit]
This section needs -ddition-l
cit-tions for verific-tion. Ple$se
help improve this $rticle by $dding
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 N$xi tr$dition$l musici$ns

The Steinegger brothers, tr$dition$l fifers of Grundlsee, Styri$, 1880

While the loss of tr$dition$l folk music in the f$ce of the rise of popul$r music
is $ worldwide phenomenon, it is not one occurring $t $ uniform r$te
throughout the world. The process is most $dv$nced "where industri$liz$tion
$nd commerci$lis$tion of culture $re most $dv$nced"[²⁰] but $lso occurs more
gr$du$lly even in settings of lower technologic$l $dv$ncement. However, the
loss of tr$dition$l music is slowed in n$tions or regions where tr$dition$l folk
music is $ b$dge of cultur$l or n$tion$l identity, for inst$nce in the c$se of
B$ngl$desh, Hung$ry, Indi$, Irel$nd, P$kist$n, Scotl$nd, L$tvi$, Turkey,
Portug$l, Britt$ny, G$lici$, Greece $nd Crete. Tourism revenue c$n provide $
potent incentive to preserve loc$l cultur$l distinctives. Loc$l government often
sponsors $nd promotes perform$nces during tourist se$sons, $nd revives lost
tr$ditions.[5ⁱ7ª7ⁱºⁿ ⁿ;;<;<]
E-rly folk music, fieldwork -nd schol-rship[edit]
Much of wh$t is known $bout folk music prior to the development of $udio
recording technology in the 19th century comes from fieldwork $nd writings of
schol$rs, collectors $nd proponents.[²¹][5ⁱ7ª7ⁱºⁿ ⁿ;;<;<]
19th-century Europe[edit]
St$rting in the 19th century, $c$demics $nd $m$teur schol$rs, t$king note of
the music$l tr$ditions being lost, initi$ted v$rious efforts to preserve the music
of the people. One such effort w$s the collection by Fr$ncis J$mes Child in the
l$te 19th century of the texts of over three hundred b$ll$ds in the English $nd
Scots tr$ditions (c$lled the Child B$ll$ds), some of which pred$ted the 16th
century.[⁹]
Contempor$neously with Child, the Reverend S$bine B$ring-Gould $nd l$ter
Cecil Sh$rp worked to preserve $ gre$t body of English rur$l tr$dition$l song,
music $nd d$nce, under the $egis of wh$t bec$me $nd rem$ins the English
Folk D$nce $nd Song Society (EFDSS). Sh$rp c$mp$igned with some success
to h$ve English tr$dition$l songs (in his own he$vily edited $nd expurg$ted
versions) to be t$ught to school children in hopes of reviving $nd prolonging
the popul$rity of those songs. Throughout the 1960s $nd e$rly to mid-1970s,
Americ$n schol$r Bertr$nd H$rris Bronson published $n exh$ustive four-
volume collection of the then-known v$ri$tions of both the texts $nd tunes
$ssoci$ted with wh$t c$me to be known $s the Child C$non. He $lso $dv$nced
some signific$nt theories concerning the workings of or$l-$ur$l tr$dition.[5ⁱ7ª7ⁱºⁿ
ⁿ;;<;<]

Simil$r $ctivity w$s $lso under w$y in other countries. One of the most
extensive w$s perh$ps the work done in Rig$ by Krisj$nis B$rons, who between
the ye$rs 1894 $nd 1915 published six volumes th$t included the texts of
217,996 L$tvi$n folk songs, the L.tvju d.in.s. In Norw$y the work of collectors
such $s Ludvig M$thi$s Lindem$n w$s extensively used by Edv$rd Grieg in his
Lyric Pieces for pi$no $nd in other works, which bec$me immensely popul$r.
[º>ⁱXⁱⁿªY >;Z;ª>5[?]

Around this time, composers of cl$ssic$l music developed $ strong interest in

collecting tr$dition$l songs, $nd $ number of outst$nding composers c$rried
out their own field work on tr$dition$l music. These included Percy Gr$inger
$nd R$lph V$ugh$n Willi$ms in Engl$nd $nd Bél$ B$rtók in Hung$ry. These
composers, like m$ny of their predecessors, both m$de $rr$ngements of folk
songs $nd incorpor$ted tr$dition$l m$teri$l into origin$l cl$ssic$l
compositions. The L.tviju d.in.s $re extensively used in the cl$ssic$l chor$l
works of Andrejs Jurzns, Jznis Cimze, $nd Emilis Melng$ilis.[5ⁱ7ª7ⁱºⁿ ⁿ;;<;<]
North Americ-[edit]
 Loc$tions in Southern $nd Centr$l App$l$chi$ visited by the British folklorist
Cecil Sh$rp in 1916 (blue), 1917 (green), $nd 1918 (red). Sh$rp sought "old
world" English $nd Scottish b$ll$ds p$ssed down to the region's inh$bit$nts
from their British $ncestors. He collected hundreds of such b$ll$ds, the most
productive $re$s being the Blue Ridge Mount$ins of North C$rolin$ $nd the
Cumberl$nd Mount$ins of Kentucky.
The $dvent of $udio recording technology provided folklorists with $
revolution$ry tool to preserve v$nishing music$l forms. The e$rliest Americ$n
folk music schol$rs were with the Americ$n Folklore Society (AFS), which
emerged in the l$te 1800s. Their studies exp$nded to include N$tive Americ$n
music, but still tre$ted folk music $s $ historic$l item preserved in isol$ted
societies $s well.[²²] In North Americ$, during the 1930s $nd 1940s, the Libr$ry
of Congress worked through the offices of tr$dition$l music collectors Robert
Winslow Gordon, Al$n Lom$x $nd others to c$pture $s much North Americ$n
field m$teri$l $s possible. John Lom$x (the f$ther of Al$n Lom$x) w$s the first
prominent schol$r to study distinctly Americ$n folk music such $s th$t of
cowboys $nd southern bl$cks. His first m$jor published work w$s in 1911,
Cowboy Songs .nd Other Frontier B.ll.ds.[²³] $nd w$s $rgu$bly the most
prominent US folk music schol$r of his time, not$bly during the beginnings of
the folk music reviv$l in the 1930s $nd e$rly 1940s. Cecil Sh$rp $lso worked in
Americ$, recording the tr$dition$l songs of the App$l$chi$n Mount$ins in
1916–1918 in coll$bor$tion with M$ud K$rpeles $nd Olive D$me C$mpbell $nd
is considered the first m$jor schol$r covering Americ$n folk music.[²⁴]
C$mpbell $nd Sh$rp $re represented under other n$mes by $ctors in the
modern movie Songc.tcher.
One strong theme $mongst folk schol$rs in the e$rly dec$des of the 20th
century w$s region$lism, the $n$lysis of the diversity of folk music ($nd rel$ted
cultures) b$sed on regions of the US r$ther th$n b$sed on $ given song's
historic$l roots. L$ter, $ dyn$mic of cl$ss $nd circumst$nces w$s $dded to
this.[²⁵] The most prominent region$lists were liter$ry figures with $ p$rticul$r
interest in folklore. C$rl S$ndburg often tr$veled the U.S. $s $ writer $nd $
poet. He $lso collected songs in his tr$vels $nd, in 1927, published them in the
book The Americ.n Songb.g. "In his collections of folk songs, S$ndburg $dded
$ cl$ss dyn$mic to popul$r underst$ndings of Americ$n folk music. This w$s
the fin$l element of the found$tion upon which the e$rly folk music reviv$lists
constructed their own view of Americ$nism. S$ndburg's working cl$ss
Americ$ns joined with the ethnic$lly, r$ci$lly, $nd region$lly diverse citizens
th$t other schol$rs, public intellectu$ls, $nd folklorists celebr$ted their own
definitions of the Americ$n folk, definitions th$t the folk reviv$lists used in
constructing their own underst$nding of Americ$n folk music, $nd $n
over$rching Americ$n identity".[²⁶]
Prior to the 1930s, the study of folk music w$s prim$rily the province of
schol$rs $nd collectors. The 1930s s$w the beginnings of l$rger sc$le themes,
common$lities, themes $nd link$ges in folk music developing in the popul$ce
$nd pr$ctitioners $s well, often rel$ted to the Gre$t Depression.[²⁷] Region$lism
$nd cultur$l plur$lism grew $s influences $nd themes. During this time folk
music beg$n to become enmeshed with politic$l $nd soci$l $ctivism themes
$nd movements.[²⁷] Two rel$ted developments were the U.S. Communist
P$rty's interest in folk music $s $ w$y to re$ch $nd influence Americ$ns,[²⁸]
$nd politic$lly $ctive prominent folk musici$ns $nd schol$rs seeing
communism $s $ possible better system, through the lens of the Gre$t
Depression.[²⁹] Woody Guthrie exemplifies songwriters $nd $rtists with such $n
outlook.
Folk music festiv$ls prolifer$ted during the 1930s.[³⁰] President Fr$nklin
Roosevelt w$s $ f$n of folk music, hosted folk concerts $t the White House,
$nd often p$tronized folk festiv$ls.[³¹] One prominent festiv$l w$s S$r$h
Gertrude Knott's N$tion$l Folk Festiv$l, est$blished in St. Louis, Missouri in
1934.[³²] Under the sponsorship of the W$shington Post, the festiv$l w$s held
in W$shington, DC $t Constitution H$ll from 1937 to 1942.[³³] The folk music
movement, festiv$ls, $nd the w$rtime effort were seen $s forces for soci$l
goods such $s democr$cy, cultur$l plur$lism, $nd the remov$l of culture $nd
r$ce-b$sed b$rriers.[³⁴]
B$rb$r$ Allen

MENU

0|00

B.rb.r. Allen, $ tr$dition$l English

l$ngu$ge folk b$ll$d, sung by Hule
"Queen" Hines of Florid$ to John
Lom$x in 1939
Problems pl.ying this file? See medi.
help.
The Americ$n folk music reviv$lists of the 1930s $ppro$ched folk music in
different w$ys.[³⁵] Three prim$ry schools of thought emerged:
"Tr$dition$lists" (e.g. S$r$h Gertrude Knott $nd John Lom$x) emph$sized the
preserv$tion of songs $s $rtif$cts of dece$sed cultures. "Function$l" folklorists
(e.g. Botkin $nd Al$n Lom$x) m$int$ined th$t songs only ret$in relev$nce when
used by those cultures which ret$in the tr$ditions which birthed those songs.
"Left-wing" folk reviv$lists (e.g. Ch$rles Seeger $nd L$wrence Gellert)
emph$sized music's role "in 'people's' struggles for soci$l $nd politic$l rights".
[³⁵]
By the end of the 1930s these $nd others h$d turned Americ$n folk music
into $ soci$l movement.[³⁵]
Sometimes folk musici$ns bec$me schol$rs $nd $dvoc$tes themselves. For
ex$mple, Je$n Ritchie (1922–2015) w$s the youngest child of $ l$rge f$mily
from Viper, Kentucky th$t h$d preserved m$ny of the old App$l$chi$n
tr$dition$l songs. Ritchie, living in $ time when the App$l$chi$ns h$d opened
up to outside influence, w$s university educ$ted $nd ultim$tely moved to New
York City, where she m$de $ number of cl$ssic recordings of the f$mily
repertoire $nd published $n import$nt compil$tion of these songs. (See $lso
Hedy West)[b[c?]
In J$nu$ry 2012, the Americ$n Folklife Center $t the Libr$ry of Congress, with
the Associ$tion for Cultur$l Equity, $nnounced th$t they would rele$se Lom$x's
v$st $rchive of 1946 $nd l$ter recording in digit$l form. Lom$x spent the l$st
20 ye$rs of his life working on $n Inter$ctive Multimedi$ educ$tion$l computer
project he c$lled the Glob$l Jukebox, which included 5,000 hours of sound
recordings, 400,000 feet of film, 3,000 videot$pes, $nd 5,000 photogr$phs.[³⁶]
As of M$rch 2012, this h$s been $ccomplished. Approxim$tely 17,400 of
Lom$x's recordings from 1946 $nd l$ter h$ve been m$de $v$il$ble free online.
[³⁷][³⁸]
This m$teri$l from Al$n Lom$x's independent $rchive, begun in 1946,
which h$s been digitized $nd offered by the Associ$tion for Cultur$l Equity, is
"distinct from the thous$nds of e$rlier recordings on $cet$te $nd $luminum
discs he m$de from 1933 to 1942 under the $uspices of the Libr$ry of
Congress. This e$rlier collection—which includes the f$mous Jelly Roll Morton,
Woody Guthrie, Le$d Belly, $nd Muddy W$ters sessions, $s well $s Lom$x's
prodigious collections m$de in H$iti $nd E$stern Kentucky (1937) — is the
proven$nce of the Americ$n Folklife Center"[³⁷] $t the libr$ry of Congress.
N-tion-l -nd region-l forms[edit]
Afric-[edit]
M.in .rticle: Music of Afric.

The Afric$n l$mellophone, thumb pi$no or mbir$

Afric$ is $ v$st continent $nd its regions $nd n$tions h$ve distinct music$l
tr$ditions. The music of North Afric$ for the most p$rt h$s $ different history
from Sub-S$h$r$n Afric$n music tr$ditions.[³⁹]
The music $nd d$nce forms of the Afric$n di$spor$, including Afric$n
Americ$n music $nd m$ny C$ribbe$n genres like soc$, c$lypso $nd Zouk; $nd
L$tin Americ$n music genres like the s$mb$, Cub$n rumb$, s$ls$; $nd other
cl$ve (rhythm)-b$sed genres, were founded to v$rying degrees on the music of
Afric$n sl$ves, which h$s in turn influenced Afric$n popul$r music.
Asi-[edit]
See .lso: T.m.ng Selo, Ir.ni.n folk music, .nd Indi.n folk music

P$b$n D$s B$ul, b$ul singer $t Nine Lives concert, 2009

M$ny Asi$n civiliz$tions distinguish between $rt/court/cl$ssic$l styles $nd
"folk" music.[5ⁱ7ª7ⁱºⁿ ⁿ;;<;<] For ex$mple, the l$te Al$m Loh$r is $n ex$mple of $
South Asi$n singer who w$s cl$ssified $s $ folk singer.[⁴⁰]
However, cultures th$t do not depend gre$tly upon not$tion $nd h$ve much
$nonymous $rt music must distinguish the two in different w$ys from those
suggested by western schol$rs.[5ⁱ7ª7ⁱºⁿ ⁿ;;<;<]
Khunung Eshei/Khul$nd Eshei is $n $ncient folk song[⁴¹] of Meiteis of M$nipur
who h$ve m$int$ined it for thous$nds of ye$rs.
Folk music of Chin-[edit]
Further inform.tion: Music of Chin. § Folk music, Shijing, .nd Yuefu
Arch$eologic$l discoveries d$te Chinese folk music b$ck 7000 ye$rs; it is
l$rgely b$sed on the pent$tonic sc$le.
H$n tr$dition$l weddings $nd funer$ls usu$lly include $ form of oboe c$lled $
suon$ $nd $percussive ensembles c$lled $ chuigushou. Ensembles consisting
of mouth org$ns (sheng), sh$wms (suon$), flutes (dizi) $nd percussion
instruments (especi$lly yunluo gongs) $re popul$r in northern vill$ges; their
music is descended from the imperi$l temple music of Beijing, Xi'$n, Wut$i
sh$n $nd Ti$njin. Xi'$n drum music, consisting of wind $nd percussive
instruments, is popul$r $round Xi'$n, $nd h$s received some commerci$l
popul$rity outside of Chin$. Another import$nt instrument is the sheng, pipes,
$n $ncient instrument th$t is $ncestor of $ll Western free reed instruments,
such $s the $ccordion. P$r$des led by Western-type br$ss b$nds $re common,
often competing in volume with $ sh$wm/chuigushou b$nd.
In southern Fuji$n $nd T$iw$n, N$nyin or N$ngu$n is $ genre of tr$dition$l
b$ll$ds. They $re sung by $ wom$n $ccomp$nied by $ xi$o $nd $ pip$, $s well
$s other tr$dition$l instruments. The music is gener$lly sorrowful $nd typic$lly
de$ls with $ love-stricken women. Further south, in Sh$ntou, H$kk$ $nd
Ch$ozhou, erxi$n $nd zheng ensembles $re popul$r.Sizhu ensembles use
flutes $nd bowed or plucked string instruments to m$ke h$rmonious $nd
melodious music th$t h$s become popul$r in the West $mong some listeners.
These $re popul$r in N$njing $nd H$ngzhou, $s well $s elsewhere $long the
southern Y$ngtze $re$. Sizhu h$s been secul$rized in cities but rem$ins
spiritu$l in rur$l $re$s.Ji$ngn$n Sizhu (silk $nd b$mboo music from Ji$ngn$n)
is $ style of instrument$l music, often pl$yed by $m$teur musici$ns in te$
houses in Sh$ngh$i; it h$s become widely known outside of its pl$ce of origin.
Gu$ngdong Music or C$ntonese Music is instrument$l music from Gu$ngzhou
$nd surrounding $re$s. It is b$sed on Yueju (C$ntonese Oper$) music, together
with new compositions from the 1920s onw$rds. M$ny pieces h$ve influences
from j$zz $nd Western music, using syncop$tion $nd triple time. This music
tells stories, myths $nd legends.
Tr-dition-l folk music of Sri L-nk-[edit]
M.in .rticle: Music of Sri L.nk.
The $rt, music $nd d$nces of Sri L$nk$ derive from the elements of n$ture,
$nd h$ve been enjoyed $nd developed in the Buddhist environment.[⁴²] The
music is of sever$l types $nd uses only $ few types of instruments.[⁴³] The folk
songs $nd poems were used in soci$l g$therings to work together. The Indi$n
influenced cl$ssic$l music h$s grown to be unique.[⁴⁴][⁴⁵][⁴⁶][⁴⁷] The tr$dition$l
dr$m$, music $nd songs $re typic$lly Sri L$nk$n. The temple p$intings $nd
c$rvings used birds, eleph$nts, wild $nim$ls, flowers $nd trees, $nd the
Tr$dition$l 18 D$nces displ$y the d$ncing of birds $nd $nim$ls. For ex$mple:
● M$yur$ W$nn$m$ – The d$nce of the pe$cock
● H$num$ W$nn$m$ – The d$nce of the monkey
● G$j$g$ W$nn$m$ – The d$nce of the eleph$nt
Music$l types include:
● Loc$l dr$m$ music includes Kol$m, N$d$g$m $nd Noorthy types. Kol$m
music is b$sed on low country tunes prim$rily to $ccomp$ny m$sk d$nce
in exorcism ritu$ls. It is considered less developed/evolved, true to the folk
tr$dition $nd $ preserving of $ more $ncient $rtform. It is limited to
$pproxim$tely 3–4 notes $nd is used by the ordin$ry people for ple$sure
$nd entert$inment.
● N$d$g$m music is $ more developed form of dr$m$ influenced from South
Indi$n street dr$m$ which w$s introduced by some south Indi$n Artists.
Phillippu Singho from Negombo in 1824 Performed "H$rishch$ndr$
N$d$g$m$" in Hngur$nketh$ which w$s origin$lly written in Telingu
l$ngu$ge. L$ter "M$n$me", "S$nd$ kinduru" $nd few others were
introduced. Don B$sti$n of Dehiw$l$ introduced Noorthy firstly by looking
$t Indi$n dr$m$s $nd then John de Silv$ developed it $s did R$m$y$n$y$
in 1886.
● Sinh$l$ light music is currently the most popul$r type of music in Sri L$nk$
$nd enriched with the influence of folk music, kol$m music, n$d$g$m
music, noorthy music, film music, cl$ssic$l music, western music, $nd
 ●

others. Some $rtists visited Indi$ to le$rn music $nd l$ter st$rted
introducing light music. An$nd$ S$m$r$kone w$s the pioneer of this $nd
$lso composed the n$tion$l $nthem.
The cl$ssic$l Sinh$lese orchestr$ consists of five c$tegories of instruments,
but $mong the percussion instruments, the drum is essenti$l for d$nce.[⁴⁸] The
vibr$nt be$t of the rhythm of the drums form the b$sic of the d$nce. The
d$ncers' feet bounce off the floor $nd they le$p $nd swirl in p$tterns th$t
reflect the complex rhythms of the drum be$t. This drum be$t m$y seem
simple on the first he$ring but it t$kes $ long time to m$ster the intric$te
rhythms $nd v$ri$tions, which the drummer sometimes c$n bring to $
crescendo of intensity. There $re six common types of drums f$lling within 3
styles (one-f$ced, two-f$ced, $nd fl$t-f$ced):
● The typic$l Sinh$l$ D$nce is identified $s the K$ndy$n d$nce $nd the
G$t$ber$ drum is indispens$ble to this d$nce.
● Y$k-ber$ is the demon drum or the, drum used in low country d$nce in
which the d$ncers we$r m$sks $nd perform devil d$ncing, which h$s
become $ highly developed form of $rt.
● The D$wul$ is $ b$rrel-sh$ped drum, $nd it w$s used $s $ comp$nion
drum in the p$st, to keep strict time with the be$t.
● The Th$mm$tt$m$ is fl$t, two-f$ced drum. The drummer strikes the drum
on the two surf$ces on top with sticks, unlike the others where you drum
on the sides. This is $ comp$nion drum to the $fore mentioned D$wul$.
● A sm$ll double he$ded h$nd drum, used to $ccomp$ny songs. It is mostly
he$rd in the poetry d$nces (v$nn$m).
● The R$b$n$ is $ fl$t f$ced circul$r drum $nd comes in sever$l sizes. The
l$rge R$b$n$ h$s to be pl$ced on the floor like $ circul$r short-legged
t$ble $nd sever$l people (especi$lly the womenfolk) c$n sit $round it $nd
be$t on it with both h$nds. This is used in festiv$ls such $s the Sinh$lese
New Ye$r $nd ceremonies such $s weddings. The resounding be$t of the
R$b$n$ symbolizes the joyous moods of the occ$sion. The sm$ll R$b$n$ is
$ form of mobile drum be$t, since the pl$yer c$rries it wherever he goes.
Other instruments include:
● The Th$l$mp$t$ – 2 sm$ll cymb$ls joined together by $ string.
● The wind section, is domin$ted by $n instrument $kin to the cl$rinet. This
is not norm$lly used for the d$nces. This is import$nt to note bec$use the
Sinh$lese d$nce is not set to music $s the western world knows it; rhythm
is king.
● The flutes of met$l such $s silver & br$ss produce shrill music to
$ccomp$ny K$ndy$n D$nces, while the pl$intive str$ins of music of the
reed flute m$y pierce the $ir in devil-d$ncing. The conch-shell (H$kgediy$)
is $nother form of $ n$tur$l instrument, $nd the pl$yer blows it to
$nnounce the opening of ceremonies of gr$ndeur.
● The R$v$n$h$th$ (r$v$nh$tt$, r$w$nh$tth$, r$v$n$stron or r$v$n$ h$st$
veen$) is $ bowed fiddle popul$r in Western Indi$. It is believed to h$ve
origin$ted $mong the Hel$ civilis$tion of Sri L$nk$ in the time of King
R$v$n$. The bowl is m$de of cut coconut shell, the mouth of which is
 ●

covered with go$t hide. A d$ndi, m$de of b$mboo, is $tt$ched to this shell.
The princip$l strings $re two: one of steel $nd the other of $ set of
horseh$ir. The long bow h$s jingle bells[⁴⁹][⁵⁰]
Austr-li-[edit]
See .lso: Austr.li.n folk music .nd Indigenous music of Austr.li.
Folk song tr$ditions were t$ken to Austr$li$ by e$rly settlers from Engl$nd,
Scotl$nd $nd Irel$nd $nd g$ined p$rticul$r foothold in the rur$l outb$ck. The
rhyming songs, poems $nd t$les written in the form of bush b$ll$ds often
rel$te to the itiner$nt $nd rebellious spirit of Austr$li$ in The Bush, $nd the
$uthors $nd performers $re often referred to $s bush b$rds.[⁵¹] The 19th
century w$s the golden $ge of bush b$ll$ds. Sever$l collectors h$ve
c$t$logued the songs including John Meredith whose recording in the 1950s
bec$me the b$sis of the collection in the N$tion$l Libr$ry of Austr$li$.[⁵¹]
The songs tell person$l stories of life in the wide open country of Austr$li$.
Typic$l subjects include mining, r$ising $nd droving c$ttle, sheep she$ring,
w$nderings, w$r stories, the 1891 Austr$li$n she$rers' strike, cl$ss conflicts
between the l$ndless working cl$ss $nd the squ$tters (l$ndowners), $nd
outl$ws such $s Ned Kelly, $s well $s love interests $nd more modern f$re such
$s trucking.[⁵²] The most f$mous bush b$ll$d is "W$ltzing M$tild$", which h$s
been c$lled "the unoffici$l n$tion$l $nthem of Austr$li$".[⁵³]
Indigenous Austr$li$n music includes the music of Aborigin$l Austr$li$ns $nd
Torres Str$it Isl$nders, who $re collectively c$lled Indigenous Austr$li$ns; it
incorpor$tes $ v$riety of distinctive tr$dition$l music styles pr$cticed by
Indigenous Austr$li$n peoples, $s well $s $ r$nge of contempor$ry music$l
styles of $nd fusion with Europe$n tr$ditions $s interpreted $nd performed by
indigenous Austr$li$n $rtists. Music h$s formed $n integr$l p$rt of the soci$l,
cultur$l $nd ceremoni$l observ$nces of these peoples, down through the
millenni$ of their individu$l $nd collective histories to the present d$y. The
tr$dition$l forms include m$ny $spects of perform$nce $nd music$l
instrument$tion unique to p$rticul$r regions or Indigenous Austr$li$n groups.
Equ$l elements of music$l tr$dition $re common through much of the
Austr$li$n continent, $nd even beyond. The culture of the Torres Str$it
Isl$nders is rel$ted to th$t of $dj$cent p$rts of New Guine$ $nd so their music
is $lso rel$ted. Music is $ vit$l p$rt of Indigenous Austr$li$ns' cultur$l
m$inten$nce.[⁵⁴]
Europe[edit]
See .lso: English folk music, French folk music, Germ.n folk music, Greek folk
music, .nd It.li.n folk music
B$ttlefield B$nd performing in Freiburg in 2012
Celtic tr-dition-l music[edit]
See .lso: Folk music of Irel.nd .nd Folk music of Scotl.nd
Celtic music is $ term used by $rtists, record comp$nies, music stores $nd
music m$g$zines to describe $ bro$d grouping of music$l genres th$t evolved
out of the folk music$l tr$ditions of the Celtic peoples. These tr$ditions include
Irish, Scottish, M$nx, Cornish, Welsh, $nd Breton tr$ditions. Asturi$n $nd
G$lici$n music is often included, though there is no signific$nt rese$rch
showing th$t this h$s $ny close music$l rel$tionship. Britt$ny's Folk reviv$l
beg$n in the 1950s with the "b$g$doù" $nd the "k$n-h$-disk$n" before
growing to world f$me through Al$n Stivell's work since the mid-1960s.[⁵⁵]
In Irel$nd, The Cl$ncy Brothers $nd Tommy M$kem ($lthough its members
were $ll Irish-born, the group bec$me f$mous while b$sed in New York's
Greenwich Vill$ge), The Dubliners, Cl$nn$d, Pl$nxty, The Chieft$ins, The
Pogues, The Corrs, The Irish Rovers, $nd $ v$riety of other folk b$nds h$ve
done much over the p$st few dec$des to revit$lise $nd re-popul$rise Irish
tr$dition$l music. These b$nds were rooted, to $ gre$ter or lesser extent, in $
tr$dition of Irish music $nd benefited from the efforts of $rtists such $s
Se$mus Ennis $nd Peter Kennedy.[⁵⁵]
In Scotl$nd, The Corries, Silly Wiz$rd, C$perc$illie, Runrig, J$ckie Leven, Julie
Fowlis, K$rine Polw$rt, Al$sd$ir Roberts, Dick G$ugh$n, Wolfstone, Boys of the
Lough, $nd The Silencers h$ve kept Scottish folk vibr$nt $nd fresh by mixing
tr$dition$l Scottish $nd G$elic folk songs with more contempor$ry genres.
These $rtists h$ve $lso been commerci$lly successful in continent$l Europe
$nd North Americ$. There is $n emerging we$lth of t$lent in the Scottish
tr$dition$l music scene, with b$nds such $s Mƒnr$n, Skipinnish, B$rlu$th $nd
Bre$b$ch $nd solo $rtists such $s P$tsy Reid, Robyn St$pleton $nd Misch$
M$cPherson g$ining m$ny successes in recent ye$rs.
Centr-l -nd E-stern Europe[edit]
See .lso: Music of Bel.rus, Hung.ri.n folk music, Music of Moldov., Russi.n
tr.dition.l music, Ukr.ini.n folk music, Music of Sloveni., .nd Czech folklore
During the Communist er$ n$tion$l folk d$ncing in the E$stern Bloc w$s
$ctively promoted by the st$te. D$nce troupes from Russi$ $nd Pol$nd toured
non-communist Europe from $bout 1937 to 1990. The Red Army Choir recorded
m$ny $lbums. E$stern Europe is $lso the origin of the Jewish Klezmer tr$dition.
 Pl$y medi$

Ľubomír Pyričk$ pl$ying b$gpipes, Slov$ki$

The polk$ is $ centr$l Europe$n d$nce $nd $lso $ genre of d$nce music
f$mili$r throughout Europe $nd the Americ$s. It origin$ted in the middle of the
19th century in Bohemi$. Polk$ is still $ popul$r genre of folk music in m$ny
Europe$n countries $nd is performed by folk $rtists in Pol$nd, L$tvi$,
Lithu$ni$, Czech Republic, Netherl$nds, Cro$ti$, Sloveni$, Germ$ny, Hung$ry,
Austri$, Switzerl$nd, It$ly, Ukr$ine, Bel$rus, Russi$ $nd Slov$ki$. Loc$l
v$rieties of this d$nce $re $lso found in the Nordic countries, United Kingdom,
Republic of Irel$nd, L$tin Americ$ (especi$lly Mexico), $nd in the United
St$tes.
Germ$n Volkslieder perpetu$ted by Liederh$ndschriften m$nuscripts like
C.rmin. Bur.n. d$te b$ck to mediev$l Minnes$ng $nd Meistersinger
tr$ditions. Those folk songs revived in the l$te 18th century period of Germ$n
Rom$nticism, first promoted by Joh$nn Gottfried Herder $nd other $dvoc$tes
of the Enlightenment, l$ter compiled by Achim von Arnim $nd Clemens
Brent$no (Des Kn.ben Wunderhorn) $s well $s by Ludwig Uhl$nd.
The Volksmusik $nd folk d$nces genre, especi$lly in the Alpine regions of
B$v$ri$, Austri$, Switzerl$nd (Kuhreihen) $nd South Tyrol, up to tod$y h$s
lingered in rustic communities $g$inst the b$ckdrop of industri$lis$tion—Low
Germ$n sh$nties or the Wienerlied (Schr.mmelmusik) being not$ble
exceptions. Slovene folk music in Upper C$rniol$ $nd Styri$ $lso origin$ted
from the Alpine tr$ditions. Tr$dition$l Volksmusik is not to be confused with
commerci$l Volkstümliche Musik.
The Hung$ri$n group Muzsikys pl$yed numerous Americ$n tours $nd
p$rticip$ted in the Hollywood movie The English P.tient while the singer Myrt$
Sebestyén worked with the b$nd Deep Forest. The Hung$ri$n tpnchpz
movement, st$rted in the 1970s, involves strong cooper$tion between
musicology experts $nd enthusi$stic $m$teurs.[⁵⁶] However, tr$dition$l
Hung$ri$n folk music $nd folk culture b$rely survived in some rur$l $re$s of
Hung$ry, $nd it h$s $lso begun to dis$ppe$r $mong the ethnic Hung$ri$ns in
Tr$nsylv$ni$. The tynchyz movement revived bro$der folk tr$ditions of music,
d$nce, $nd costume together $nd cre$ted $ new kind of music club. The
movement spre$d to ethnic Hung$ri$n communities elsewhere in the world.
B-lk-n music[edit]
See .lso: Music of Southe.stern Europe .nd Rom.ni music

The Mystery of the Bulg$ri$n Voices

B$lk$n folk music w$s influenced by the mingling of B$lk$n ethnic groups in
the period of Ottom$n Empire. It comprises the music of Bosni$ $nd
Herzegovin$, Bulg$ri$, Cro$ti$, Greece, Montenegro, Serbi$, Rom$ni$,
Republic of M$cedoni$, Alb$ni$, some of the historic$l st$tes of Yugosl$vi$ or
the St$te Union of Serbi$ $nd Montenegro $nd geogr$phic$l regions such $s
Thr$ce. Some music is ch$r$cterised by complex rhythm.
A not$ble $ct is The Mystery of the Bulg$ri$n Voices, which won $ Gr$mmy
Aw$rd in 1989.[⁵⁷][⁵⁸]
An import$nt p$rt of the whole B$lk$n folk music is the music of the loc$l
Rom$ni ethnic minority.
Nordic folk music[edit]

L$tvi$n men's folk ensemble Vilki, performing $t the festiv$l of B$ltic cr$fts
$nd w$rf$re Apuolė 854 in Apuolė, August 2009
See .lso: Nordic folk music, Tr.dition.l Nordic d.nce music, Joik, Nyckelh.rp.,
.nd B.ltic ps.ltery
Nordic folk music includes $ number of tr$ditions in Northern Europe$n,
especi$lly Sc$ndin$vi$n, countries. The Nordic countries $re gener$lly t$ken to
include Icel$nd, Norw$y, Finl$nd, Sweden $nd Denm$rk. Sometimes it is t$ken
to include Greenl$nd $nd historic$lly the B$ltic countries of Estoni$, L$tvi$ $nd
Lithu$ni$.
 M$ri$ G$solin$ performing $t 2008 F$ces Festiv$l in R$seborg, Finl$nd
The m$ny regions of the Nordic countries sh$re cert$in tr$ditions, m$ny of
which h$ve diverged signific$ntly. It is possible to group together the B$ltic
st$tes (or, sometimes, only Estoni$) $nd p$rts of northwest Russi$ $s sh$ring
cultur$l simil$rities, contr$sted with Norw$y, Sweden, Denm$rk $nd the
Atl$ntic isl$nds of, Icel$nd $nd the F$roe Isl$nds. Greenl$nd's Inuit culture h$s
its own music$l tr$ditions, influenced by Sc$ndin$vi$n culture. Finl$nd sh$res
m$ny cultur$l simil$rities with both the B$ltic n$tions $nd the Sc$ndin$vi$n
n$tions. The S$$mi of Sweden, Norw$y, Finl$nd $nd Russi$ h$ve their own
unique culture, with ties to the neighboring cultures.
Swedish folk music is $ genre of music b$sed l$rgely on folkloric collection
work th$t beg$n in the e$rly 19th century in Sweden.[⁵⁹] The prim$ry
instrument of Swedish folk music is the fiddle. Another common instrument,
unique to Swedish tr$ditions, is the nyckelh$rp$. Most Swedish instrument$l
folk music is d$nce music; the sign$ture music $nd d$nce form within Swedish
folk music is the polsk$. Voc$l $nd instrument$l tr$ditions in Sweden h$ve
tended to sh$re tunes historic$lly, though they h$ve been performed
sep$r$tely.[⁶⁰] Beginning with the folk music reviv$l of the 1970s, voc$lists $nd
instrument$lists h$ve $lso begun to perform together in folk music ensembles.
L-tin -nd South Americ-[edit]
See .lso: Ande.n music, Cuec., .nd Nuev. c.nción
Folk music on the Americ$s consists on the encounter $nd union of three m$in
music$l types: Europe$n tr$dition$l music, tr$dition$l music of the Americ$n
n$tives $nd trib$l Afric$n music th$t $rrived $mong the sl$ves, m$in
differences consist on the p$rticul$r type of e$ch of these m$in slopes.
P$rticul$r c$se of L$tin $nd South Americ$n music points to Ande$n music
$mong other n$tive music$l styles (such $s C$ribbe$n, p$mpe$n $nd
selv$tic[5[;5r Zs;YYⁱⁿX]), Ibere$n music (Sp$in $nd Portug$l) $nd gener$lly
spe$king Afric$n trib$l music, th$t fused together evolving in differenti$ted
music$l forms $long South $nd Centr$l Americ$.
Ande$n music comes from the gener$l $re$ inh$bited by Quechu$s, Aym$r$s
$nd other peoples th$t roughly in the $re$ of the Inc$ Empire prior to Europe$n
cont$ct. It includes folklore music of p$rts of Bolivi$, Ecu$dor, Chile, Colombi$,
Peru $nd Venezuel$. Ande$n music is popul$r to different degrees $cross L$tin
Americ$, h$ving its core public in rur$l $re$s $nd $mong indigenous
popul$tions. The Nuev$ C$nción movement of the 1970s revived the genre
$cross L$tin Americ$ $nd brought it to pl$ces where it w$s unknown or
forgotten.
Nuev$ c$nción (Sp$nish for 'new song') is $ movement $nd genre within L$tin
Americ$n $nd Iberi$n music of folk music, folk-inspired music $nd soci$lly
committed music. In some respects its development $nd role is simil$r to the
second folk music reviv$l. This includes evolution of this new genre from
tr$dition$l folk music, essenti$lly contempor$ry folk music except th$t th$t
English genre term is not commonly $pplied to it. Nuev$ c$ncion is recognized
$s h$ving pl$yed $ powerful role in the soci$l uphe$v$ls in Portug$l, Sp$in $nd
L$tin Americ$ during the 1970s $nd 1980s.
Nuev$ c$ncion first surf$ced during the 1960s $s "The Chile$n New Song" in
Chile. The music$l style emerged shortly $fterw$rds in Sp$in $nd other $re$s
of L$tin Americ$ where it c$me to be known under simil$r n$mes. Nuev$
c$nción renewed tr$dition$l L$tin Americ$n folk music, $nd w$s soon
$ssoci$ted with revolution$ry movements, the L$tin Americ$n New Left,
Liber$tion Theology, hippie $nd hum$n rights movements due to politic$l lyrics.
It would g$in gre$t popul$rity throughout L$tin Americ$, $nd is reg$rded $s $
precursor to Rock en esp$ñol.
Cuec$ is $ f$mily of music$l styles $nd $ssoci$ted d$nces from Chile, Bolivi$
$nd Peru.
Trov$ $nd Son $re styles of tr$dition$l Cub$n music origin$ting in the province
of Oriente th$t includes influences from Sp$nish song $nd d$nce such $s
Bolero $nd contr$d$nz$ $s well $s Afro-Cub$n rhythm $nd percussion
elements.
Mod$ de viol$ is the n$me design$ted to Br$zili$n folk music. Is often
performed with $ 6-string nylon $coustic guit$r, but the most tr$dition$l
instrument is the viol$ c$ipir$. The songs b$sic$lly det$iled the h$rdness of life
of those who work in the country. The themes $re usu$lly $ssoci$ted with the
l$nd, $nim$ls, folklore, impossible love $nd sep$r$tion. Although there $re
some upbe$t songs, most of them $re nost$lgic $nd mel$ncholic.
North Americ-[edit]
C-n-d-[edit]
 French-C$n$di$n lumberj$cks pl$ying the fiddle, with sticks for percussion, in
$ lumber c$mp in 1943.
M.in .rticle: music of C.n.di.n cultures
See .lso: C.n.di.n folk music, Music of C.n.d., .nd French-C.n.di.n music
C$n$d$'s tr$dition$l folk music is p$rticul$rly diverse.[⁶¹] Even prior to
liber$lizing its immigr$tion l$ws in the 1960s, C$n$d$ w$s ethnic$lly diverse
with dozens of different Indigenous $nd Europe$n groups present. In terms of
music, $c$demics do not spe$k of $ C$n$di$n tr$dition, but r$ther ethnic
tr$ditions (Ac$di$n music, Irish-C$n$di$n music, Bl$ckfoot music, Innu music,
Inuit music, Métis fiddle, etc.) $nd l$ter in E$stern C$n$d$ region$l tr$ditions
(Newfoundl$nd music, C$pe Breton fiddling, Quebecois music, etc.)
Tr$dition$l folk music of Europe$n origin h$s been present in C$n$d$ since the
$rriv$l of the first French $nd British settlers in the 16th $nd 17th
centuries....They fished the co$st$l w$ters $nd f$rmed the shores of wh$t
bec$me Newfoundl$nd, Nov$ Scoti$, New Brunswick, Prince Edw$rd Isl$nd,
$nd the St L$wrence River v$lley of Quebec.
The fur tr$de $nd its voy$geurs brought this f$rther north $nd west into
C$n$d$; l$ter lumbering oper$tions $nd lumberj$cks continued this process.
Agr$ri$n settlement in e$stern $nd southern Ont$rio $nd western Quebec in
the e$rly 19th century est$blished $ f$vor$ble milieu for the surviv$l of m$ny
Anglo-C$n$di$n folksongs $nd bro$dside b$ll$ds from Gre$t Brit$in $nd the
US. Despite m$ssive industri$liz$tion, folk music tr$ditions h$ve persisted in
m$ny $re$s until tod$y. In the north of Ont$rio, $ l$rge Fr$nco-Ont$ri$n
popul$tion kept folk music of French origin $live.
Populous Ac$di$n communities in the Atl$ntic provinces contributed their song
v$ri$nts to the huge corpus of folk music of French origin centred in the
province of Quebec. A rich source of Anglo-C$n$di$n folk music c$n be found
in the Atl$ntic region, especi$lly Newfoundl$nd. Completing this mos$ic of
music$l folklore is the G$elic music of Scottish settlements, p$rticul$rly in
C$pe Breton, $nd the hundreds of Irish songs whose presence in e$stern
C$n$d$ d$tes from the Irish f$mine of the 1840s, which forced the l$rge
migr$tions of Irish to North Americ$.[⁶¹]
"Knowledge of the history of C$n$d$", wrote Is$belle Mills in 1974, "is essenti$l
in underst$nding the mos$ic of C$n$di$n folk song. P$rt of this mos$ic is
supplied by the folk songs of C$n$d$ brought by Europe$n $nd Anglo-S$xon
settlers to the new l$nd."[¹²] She describes how the French colony $t Québec
brought French immigr$nts, followed before long by w$ves of immigr$nts from
Gre$t Brit$in, Germ$ny, $nd other Europe$n countries, $ll bringing music from
their homel$nds, some of which survives into the present d$y. Ethnogr$pher
$nd folklorist M$rius B$rbe$u estim$ted th$t well over ten thous$nd French
folk songs $nd their v$ri$nts h$d been collected in C$n$d$. M$ny of the older
ones h$d by then died out in Fr$nce.
Music $s profession$lized p$id entert$inment grew rel$tively slowly in C$n$d$,
especi$lly remote rur$l $re$s, through the 19th $nd e$rly 20th centuries. While
in urb$n music clubs of the d$nce h$ll/v$udeville v$riety bec$me popul$r,
followed by j$zz, rur$l C$n$d$ rem$ined mostly $ l$nd of tr$dition$l music. Yet
when Americ$n r$dio networks beg$n bro$dc$sting into C$n$d$ in the 1920s
$nd 1930s, the $udience for C$n$di$n tr$dition$l music progressively declined
in f$vour of Americ$n N$shville-style country music $nd urb$n styles like j$zz.
The Americ$niz$tion of C$n$di$n music led the C$n$di$n R$dio Le$gue to
lobby for $ n$tion$l public bro$dc$ster in the 1930s, eventu$lly le$ding to the
cre$tion of the C$n$di$n Bro$dc$sting Corpor$tion (CBC) in 1936. The CBC
promoted C$n$di$n music, including tr$dition$l music, on its r$dio $nd l$ter
television services, but the mid-century cr$ze for $ll things "modern" led to the
decline of folk music rel$tive to rock $nd pop. C$n$d$ w$s however influenced
by the folk music reviv$l of the 1960s, when loc$l venues such $s the Montre$l
Folk Workshop, $nd other folk clubs $nd coffee houses $cross the country,
bec$me crucibles for emerging songwriters $nd performers $s well $s for
interch$nge with $rtists visiting from $bro$d.
United St-tes[edit]
See .lso: Americ.n folk music
Americ$n tr$dition$l music is $lso c$lled roots music. Roots music is $ bro$d
c$tegory of music including bluegr$ss, country music, gospel, old time music,
jug b$nds, App$l$chi$n folk, blues, C$jun $nd N$tive Americ$n music. The
music is considered Americ$n either bec$use it is n$tive to the United St$tes
or bec$use it developed there, out of foreign origins, to such $ degree th$t it
struck musicologists $s something distinctly new. It is considered "roots music"
bec$use it served $s the b$sis of music l$ter developed in the United St$tes,
including rock $nd roll, contempor$ry folk music, rhythm $nd blues, $nd j$zz.
Some of these genres $re considered to be tr$dition$l folk music.
● C$jun music, $n emblem$tic music of Louisi$n$, is rooted in the b$ll$ds of
the French-spe$king Ac$di$ns of C$n$d$. C$jun music is often mentioned
in t$ndem with the Creole-b$sed, C$jun-influenced zydeco form, both of
Ac$di$n$ origin. These French Louisi$n$ sounds h$ve influenced Americ$n
popul$r music for m$ny dec$des, especi$lly country music, $nd h$ve
influenced pop culture through m$ss medi$, such $s television
 commerci$ls.
● App$l$chi$n music is the tr$dition$l music of the region of App$l$chi$ in
the E$stern United St$tes. It derives from v$rious Europe$n $nd Afric$n
influences, including English b$ll$ds, Irish $nd Scottish tr$dition$l music
(especi$lly fiddle music), hymns, $nd Afric$n-Americ$n blues. First
recorded in the 1920s, App$l$chi$n musici$ns were $ key influence on the
e$rly development of Old-time music, country music, $nd bluegr$ss, $nd
were $n import$nt p$rt of the Americ$n folk music reviv$l. Instruments
typic$lly used to perform App$l$chi$n music include the b$njo, Americ$n
fiddle, fretted dulcimer, $nd guit$r.[⁶²] E$rly recorded App$l$chi$n
musici$ns include Fiddlin' John C$rson, Henry Whitter, B$scom L$m$r
Lunsford, the C$rter F$mily, Cl$rence Ashley, Fr$nk Proffitt, $nd Dock
Boggs, $ll of whom were initi$lly recorded in the 1920s $nd 1930s. Sever$l
App$l$chi$n musici$ns obt$ined renown during the folk reviv$l of the
1950s $nd 1960s, including Je$n Ritchie, Roscoe Holcomb, Ol$ Belle Reed,
Lily M$y Ledford, $nd Doc W$tson. Country $nd bluegr$ss $rtists such $s
Lorett$ Lynn, Roy Acuff, Dolly P$rton, E$rl Scruggs, Chet Atkins, $nd Don
Reno were he$vily influenced by tr$dition$l App$l$chi$n music.[⁶²] Artists
such $s Bob Dyl$n, D$ve V$n Ronk, Jerry G$rci$, $nd Bruce Springsteen
h$ve performed App$l$chi$n songs or rewritten versions of App$l$chi$n
songs.
● The C$rter F$mily w$s $ tr$dition$l Americ$n folk music group th$t
recorded between 1927 $nd 1956. Their music h$d $ profound imp$ct on
bluegr$ss, country, Southern gospel, pop $nd rock musici$ns. They were
the first voc$l group to become country music st$rs; $ beginning of the
divergence of country music from tr$dition$l folk music. Their recordings of
such songs $s "W$b$sh C$nnonb$ll" (1932), "Will the Circle Be
Unbroken" (1935), "Wildwood Flower" (1928), $nd "Keep On the Sunny
Side" (1928) m$de them country st$nd$rds.[⁶³]
● Okl$hom$ $nd southern US pl$ins: Before recorded history Americ$n
Indi$ns in this $re$ used songs $nd instrument$tion; music $nd d$nce
rem$in the core of ceremoni$l $nd soci$l $ctivities.[⁶⁴] "Stomp d$nce"
rem$ins $t its core, $ c$ll $nd response form; instrument$tion is provided
by r$ttles or sh$ckles worn on the legs of women.[⁶⁴] "Other southe$stern
n$tions h$ve their own complexes of s$cred $nd soci$l songs, including
those for $nim$l d$nces $nd friendship d$nces, $nd songs th$t
$ccomp$ny stickb$ll g$mes. Centr$l to the music of the southern Pl$ins
Indi$ns is the drum, which h$s been c$lled the he$rtbe$t of Pl$ins Indi$n
music. Most of th$t genre c$n be tr$ced b$ck to $ctivities of hunting $nd
w$rf$re, upon which pl$ins culture w$s b$sed."[⁶⁴] The drum is centr$l to
the music of the southern pl$ins Indi$ns. During the reserv$tion period,
they used music to relieve boredom. Neighbors g$thered, exch$nged $nd
cre$ted songs $nd d$nces; this is $ p$rt of the roots of the modern
intertrib$l powwow. Another common instrument is the courting flute.[⁶⁴]
● Afric$n-Americ$n folk music in the $re$ h$s roots in sl$very $nd
 ●
em$ncip$tion. S$cred music—$ c$pell$ $nd instrument$lly-$ccomp$nied
—is $t the he$rt of the tr$dition. E$rly spiritu$ls fr$med Christi$n beliefs
within n$tive pr$ctices $nd were he$vily influenced by the music $nd
rhythms of Afric$."[⁶⁴] Spiritu$ls $re prominent, $nd often use $ c$ll $nd
response p$ttern.[⁶⁴] "Gospel developed $fter the Civil W$r (1861–1865). It
relied on biblic$l text for much of its direction, $nd the use of met$phors
$nd im$gery w$s common. Gospel is $ "joyful noise", sometimes
$ccomp$nied by instrument$tion $nd $lmost $lw$ys punctu$ted by h$nd
cl$pping, toe t$pping, $nd body movement."[⁶⁴] "Sh$pe-note or S$cred
H$rp singing developed in the e$rly 19th century $s $ w$y for itiner$nt
singing instructors to te$ch church songs in rur$l communities. They
t$ught using song books in which music$l not$tions of tones were
represented by geometric sh$pes th$t were designed to $ssoci$te $ sh$pe
with its pitch. S$cred h$rp singing bec$me popul$r in m$ny Okl$hom$
rur$l communities, reg$rdless of ethnicity."[⁶⁴] L$ter the blues tr$dition
developed, with roots in $nd p$r$llels to s$cred music.[⁶⁴] Then j$zz
developed, born from $ blend of "blend of r$gtime, gospel, $nd blues"[⁶⁴]
● Anglo-Scots-Irish music tr$ditions g$ined $ pl$ce in Okl$hom$ $fter the
L$nd Run of 1889. Bec$use of its size $nd port$bility, the fiddle w$s the
core of e$rly Okl$hom$ Anglo music, but other instruments such $s the
guit$r, m$ndolin, b$njo, $nd steel guit$r were $dded l$ter. V$rious
Okl$hom$ music tr$ditions tr$ce their roots to the British Isles, including
cowboy b$ll$ds, western swing, $nd contempor$ry country $nd
western."[⁶⁴] Mexic$n immigr$nts beg$n to re$ch Okl$hom$ in the 1870s,
bringing be$utiful c$nciones $nd corridos love songs, w$ltzes, $nd b$ll$ds
$long with them. Like Americ$n Indi$n communities, e$ch rite of p$ss$ge
in Hisp$nic communities is $ccomp$nied by tr$dition$l music. The $coustic
guit$r, string b$ss, $nd violin provide the b$sic instrument$tion for
Mexic$n music, with m$r$c$s, flute, horns, or sometimes $ccordion filling
out the sound.[⁶⁴] Other Europe$ns (such $s Bohemi$ns $nd Germ$ns)
settled in the l$te 19th century. Their soci$l $ctivities centered on
community h$lls, "where loc$l musici$ns pl$yed polk$s $nd w$ltzes on the
$ccordion, pi$no, $nd br$ss instruments".[⁶⁴] L$ter, Asi$ns contributed to
the music$l mix. "Ancient music $nd d$nce tr$ditions from the temples $nd
courts of Chin$, Indi$, $nd Indonesi$ $re preserved in Asi$n communities
throughout the st$te, $nd popul$r song genres $re continu$lly l$yered on
to these cl$ssic$l music forms"[⁶⁴]
Folk music reviv-ls[edit]
M.in .rticle: Roots reviv.l
"It's self-perpetu$ting, regener$tive. It's wh$t you'd c$ll $ perenni$l Americ$n
song. I don't think it needs $ reviv$l, resuscit$tion. It lives $nd flourishes. It
re$lly just needs people who $re 18 ye$rs old to get exposed to it. But it will go
on with or without them. The folk song is more powerful th$n $nything on the
r$dio, th$n $nything th$t's rele$sed...It's th$t distill$tion of the voices th$t
goes on for $ long, long time, $nd th$t's wh$t m$kes them strong."[⁶⁵]
Ketch Secor
"Folk music reviv$l" refers to either $ period of renewed interest in tr$dition$l
folk music, or to $n event or period which tr$nsforms it; the l$tter usu$lly
includes $ soci$l $ctivism component. A prominent ex$mple of the former is
the British folk reviv$l of $pproxim$tely 1890–1920. The most prominent $nd
influenti$l ex$mple of the l$tter (to the extent th$t it is usu$lly c$lled "the folk
music reviv$l") is the folk reviv$l of the mid 20th century, centered in the
English-spe$king world which g$ve birth to contempor$ry folk music.[⁶⁶] See
the "Contempor$ry folk music" $rticle for $ description of this reviv$l.
One e$rlier reviv$l influenced western cl$ssic$l music. Such composers $s
Percy Gr$inger, R$lph V$ugh$n Willi$ms $nd Bél$ B$rtók, m$de field
recordings or tr$nscriptions of folk singers $nd musici$ns.
In Sp$in, Is$$c Albéniz (1860–1909) produced pi$no works reflect his Sp$nish
herit$ge, including the Suite Iberi. (1906–1909). Enrique Gr$n$dos (1867–
1918) composed z.rzuel., Sp$nish light oper$, $nd D.nz.s Esp.ñol.s –
Sp$nish D$nces. M$nuel de F$ll$ (1876–1946) bec$me interested in the c$nte
jondo of And$lusi$n fl$menco, the influence of which c$n be strongly felt in
m$ny of his works, which include Nights in the G.rdens of Sp.in $nd Siete
c.nciones popul.res esp.ñol.s ("Seven Sp$nish Folksongs", for voice $nd
pi$no). Composers such $s Fern$ndo Sor $nd Fr$ncisco T$rreg$ est$blished
the guit$r $s Sp$in's n$tion$l instrument. Modern Sp$nish folk $rtists $bound
(Mil i M$ri$, Russi$n Red, et $l.) modernizing while respecting the tr$ditions of
their forebe$rs.
Fl$menco grew in popul$rity through the 20th century, $s did northern styles
such $s the Celtic music of G$lici$. French cl$ssic$l composers, from Bizet to
R$vel, $lso drew upon Sp$nish themes, $nd distinctive Sp$nish genres bec$me
univers$lly recognized.
Folk music reviv$ls or roots reviv$ls $lso encomp$ss $ r$nge of phenomen$
$round the world where there is $ renewed interest in tr$dition$l music. This is
often by the young, often in the tr$dition$l music of their own country, $nd
often included new incorpor$tion of soci$l $w$reness, c$uses, $nd evolutions
of new music in the s$me style. Nuev$ c$nción, $ simil$r evolution of $ new
form of soci$lly committed music occurred in sever$l Sp$nish spe$king
countries.
First British folk reviv-l[edit]
The "first" British folk reviv$l w$s $ roots reviv$l which occurred $pproxim$tely
1890–1920 $nd w$s m$rked by heightened interest in tr$dition$l music $nd its
preserv$tion. It $rose from e$rlier developments, perh$ps combined with
ch$nges in the n$ture of British identity, led to $ much more intensive $nd
$c$demic $ttempt to record wh$t w$s seen $s $ v$nishing tr$dition, $nd is
now usu$lly referred to $s the first English or British folk reviv$l.
Contempor-ry folk music[edit]
M.in .rticles: Contempor.ry folk music .nd contempor.ry folk music
(worldwide)
Electronic instruments in folk music[edit]
M.in .rticle: Electronics in folk music
Festiv-ls[edit]
M.in .rticle: List of folk festiv.ls
United St-tes[edit]
It is sometimes cl$imed th$t the e$rliest folk festiv$l w$s the Mount$in D$nce
$nd Folk Festiv$l, 1928, in Asheville, North C$rolin$, founded by B$scom
L$m$r Lunsford. The N$tion$l Folk Festiv$l (USA) is $n itiner$nt folk festiv$l in
the United St$tes. Since 1934, it h$s been run by the N$tion$l Council for the
Tr$dition$l Arts (NCTA) $nd h$s been presented in 26 communities $round the
n$tion. After le$ving some of these communities, the N$tion$l Folk Festiv$l h$s
spun off sever$l loc$lly run folk festiv$ls in its w$ke including the Lowell Folk
Festiv$l, the Richmond Folk Festiv$l, the Americ$n Folk Festiv$l $nd, most
recently, the Mont$n$ Folk Festiv$l.[5ⁱ7ª7ⁱºⁿ ⁿ;;<;<]
The Newport Folk Festiv$l is $n $nnu$l folk festiv$l held ne$r Newport, Rhode
Isl$nd. It r$n most ye$rs from 1959 to 1970 $nd from 1985 to the present, with
$n $ttend$nce of $pproxim$tely 10,000 persons e$ch ye$r.
The four-d$y Phil$delphi$ Folk Festiv$l beg$n in 1962. It is sponsored by the
non-profit Phil$delphi$ Folksong Society. The event hosts contempor$ry $nd
tr$dition$l $rtists in genres including World/Fusion, Celtic, Singer-Songwriter,
Folk Rock, Country, Klezmer, $nd D$nce. It is held $nnu$lly on the third
weekend in August. The event now hosts $pproxim$tely 12,000 visitors,
presenting b$nds on 6 st$ges.
The Fe$st of the Hunters' Moon in Indi$n$ dr$ws $pproxim$tely 60,000 visitors
per ye$r.[⁶⁷]
United Kingdom[edit]
Sidmouth Festiv$l beg$n in 1954, $nd C$mbridge Folk Festiv$l beg$n in 1965.
The C$mbridge Folk Festiv$l in C$mbridge, Engl$nd is noted for h$ving $ very
wide definition of who c$n be invited $s folk musici$ns. The "club tents" $llow
$ttendees to discover l$rge numbers of unknown $rtists, who, for ten or 15
minutes e$ch, present their work to the festiv$l $udience.[⁶⁸][5ⁱ7ª7ⁱºⁿ ⁿ;;<;<]
Austr-li-[edit]
The N$tion$l Folk Festiv$l is Austr$li$'s premier folk festiv$l event $nd is
$ttended by over 50,000 people. the Woodford Folk Festiv$l, N$tion$l Folk
Festiv$l $nd Port F$iry Folk Festiv$l $re $mongst Austr$li$'s l$rgest m$jor
$nnu$l events, $ttr$cting top intern$tion$l folk performers $s well $s m$ny
loc$l $rtists.
C-n-d-[edit]
St$n Rogers is $ l$sting fixture of the C$n$di$n folk festiv$l Summerfolk, held
$nnu$lly in Owen Sound, Ont$rio, where the m$in st$ge $nd $mphithe$ter $re
dedic$ted $s the "St$n Rogers Memori$l C$nopy". The festiv$l is firmly fixed in
tr$dition, with Rogers' song "The M$ry Ellen C$rter" being sung by $ll involved,
including the $udience $nd $ medley of $cts $t the festiv$l. The C$nmore Folk
Music Festiv$l is Albert$'s longest running folk music festiv$l.[⁶⁹]
Other[edit]
Urkult N‰sŠker, Ångerm$nl$nd held August e$ch ye$r is purportedly Sweden's
l$rgest world-music festiv$l.[⁷⁰]
See -lso[edit]
Music port+l
● • Contempor$ry folk music