English folk music

Source: Wikipedia, the free encyclopedia.
This article is about English folk music. It is not to be confused with ethnic group from England.
Culture of England
History
People
Languages
Traditions
Folklore
Cuisine
Festivals
Religion
Art
Literature
Music and Performing arts
Media
Sport
Monuments
  • World Heritage Sites
Symbols

The folk music of England is a tradition-based music which has existed since the later

traditional music and music composed or delivered in a traditional style.[citation needed
]

There are distinct regional and local variations in content and style, particularly in areas more removed from the most prominent English cities, as in Northumbria, or the West Country. Cultural interchange and processes of migration mean that English folk music, although in many ways distinctive, has significant crossovers with the music of Scotland. When English communities migrated to the United States, Canada and Australia, they brought their folk traditions with them, and many of the songs were preserved by immigrant communities.

English folk music has produced or contributed to several cultural phenomena, including

sub-culture
of English folk music, which continues to influence other genres and occasionally gains mainstream attention.

History

Origins

In the strictest sense, English folk music has existed since the arrival of the

Venerable Bede's story of the cattleman and later ecclesiastical musician Cædmon indicates that in the early medieval period it was normal at feasts to pass around the harp and sing 'vain and idle songs'.[1] Since this type of music was rarely notated, we have little knowledge of its form or content.[2] Some later tunes, like those used for Morris dance, may have their origins in this period, but it is impossible to be certain of these relationships.[3] We know from a reference in William Langland's Piers Plowman, that ballads about Robin Hood were being sung from at least the late 14th century and the oldest detailed material we have is Wynkyn de Worde's collection of Robin Hood ballads printed about 1495.[4]

16th century to the 18th century

While there was distinct court music, members of the social elite into the 16th century also seem to have enjoyed, and even to have contributed to the music of the people, as

Henry VIII perhaps did with the tavern song "Pastime with Good Company".[5] Peter Burke argued that late medieval social elites had their own culture, but were culturally 'amphibious', able to participate in and affect popular traditions.[6]

Original score of Pastime with Good Company (c. 1513), held in the British Library, London
.

In the 16th century the changes in the wealth and culture of the upper social orders caused tastes in music to diverge.

bagpipe, shawm, hurdy-gurdy, and crumhorn accompanied traditional music and community dance.[9] The fiddle, well established in England by the 1660s, was unusual in being a key element in both the art music that developed in the baroque, and in popular song and dance.[10]

Vihuela sample
A
The English Dancing Master
Problems playing this file? See media help.

By the mid-17th century, the music of the lower social orders was sufficiently alien to the aristocracy and "middling sort" for a process of rediscovery to be needed in order to understand it, along with other aspects of popular culture such as festivals, folklore and dance.

The English Dancing Master (1651), and the private collections of Samuel Pepys (1633–1703) and the Roxburghe Ballads collected by Robert Harley, 1st Earl of Oxford and Mortimer (1661–1724).[4] Pepys notably mentioned in his famous diary singing the ballad Barbara Allen on New Year's Eve, 1665, a ballad that survived in the oral tradition well into the twentieth century.[11]
In the 18th century there were increasing numbers of collections of what was now beginning to be defined as "folk" music, strongly influenced by the
Thomas Percy's Reliques of Ancient English Poetry (1765).[4] The last of these also contained some oral material and by the end of the 18th century this was becoming increasingly common, with collections including Joseph Ritson's, The Bishopric Garland (1784), which paralleled the work of figures like Robert Burns and Walter Scott in Scotland.[4]

The first page of an 1840 printed version of "Barbara Allen" one of the most widely collected English language folk ballads.

It was in this period, too, that English folk music traveled across the Atlantic Ocean and became one of the foundations of American traditional music. In the colonies, it mixed with styles of music brought by other immigrant groups to create a host of new genres. For instance, English ballads, along with Irish, Scottish, and German musical traditions when combined with the African banjo, Afro-American rhythmic traditions and the Afro-American jazz and blues aesthetic led in part to the development of bluegrass and country music

.

Early 19th century

With the

work songs.[12] Awareness that older kinds of song were being abandoned prompted renewed interest in collecting folk songs during the 1830s and 1840s, including the work of William Sandys' Christmas Carols Ancient and Modern (1833), William Chappell, A Collection of National English Airs (1838) and Robert Bell's Ancient Poems, Ballads and Songs of the Peasantry of England (1846).[13]

Technological change made new instruments available and led to the development of silver and

brass bands, particularly in industrial centres in the north.[14] The shift to urban centres also began to create new types of music, including from the 1850s the Music hall, which developed from performances in ale houses into theatres and became the dominant locus of English popular music for over a century.[15] This combined with increased literacy and print to allow the creation of new songs that initially built on, but began to differ from traditional music as composers like Lionel Monckton and Sidney Jones created music that reflected new social circumstances.[16]

Folk revivals 1890–1969

Main article: British folk revival

From the late 19th century there were a series of movements that attempted to collect, record, preserve and later to perform, English folk music and dance. These are usually separated into two folk revivals.

Cecil Sharp

The first, in the later 19th and early 20th centuries, involved figures including collectors

First World War, and contributed to the creation of the English Pastoral School of classical music which incorporated traditional songs or motifs, as can be seen in the compositions of Percy Grainger (1882–1961), Ralph Vaughan Williams (1872–1951), George Butterworth (1885–1916), Gustav Holst (1874–1934) and Frederick Delius (1862–1934).[17][18] In 1932 the Folk-Song Society and the English Folk Dance Society merged to become the English Folk Dance and Song Society (EFDSS).[12] Some of these revivalists recorded folk songs on wax cylinders, and many of the recordings, including Percy Grainger's collection, are available online courtesy of the Vaughan Williams Memorial Library and the British Library Sound Archive.[19]
The second revival gained momentum after the
learnt the old songs in the oral tradition from their communities and therefore preserved the authentic versions. These people, including Sam Larner,[24] Harry Cox,[25] Fred Jordan,[26] Walter Pardon,[27] Frank Hinchliffe[28] and the Copper Family,[29]
released albums of their own and were revered by folk revivalists. Popular folk revival musicians based their works on songs sung by these traditional singers and those collected during the first folk revival.

There are various databases and collections of English folk songs collected during the first and second folk revivals, such as the Roud Folk Song Index, which contains references to 25,000 English language folk songs, and the Vaughan Williams Memorial Library, a multimedia archive of folk-related resources.[30] The British Library Sound Archive contains thousands of recordings of traditional English folk music, including 340 wax cylinder recordings made by Percy Grainger in the early 1900s.[31]

Progressive folk

Main article:
Incredible String Band, who from 1967 incorporated a range of influences including medieval and eastern music into their compositions. Some of this, particularly the Incredible String Band, has been seen as developing into the further subgenre of psych or psychedelic folk and had a considerable impact on progressive and psychedelic rock.[34]

There was a brief flowering of English progressive folk in the late 1960s and early 1970s, with groups like the

UK Single Charts in 1974, and whose music is clearly folk, but without much reliance on tradition, virtuosity, or much evidence of attempts at fusion with other genres.[36]

British folk rock

Main article: British folk rock
Fairport Convention in a Dutch television show in 1972

British folk rock developed in Britain during the mid to late 1960s by the bands

Albion Band.[38] It was rapidly adopted and developed in the surrounding Celtic cultures of Brittany, where it was pioneered by Alan Stivell and bands like Malicorne; in Ireland by groups such as Horslips; in Canada by groups such as Barde; and also in Scotland, Wales and the Isle of Man and Cornwall, to produce Celtic rock and its derivatives.[39] It has been influential in those parts of the world with close cultural connections to Britain, such as the US and Canada and gave rise to the subgenre of Medieval folk rock and the fusion genres of folk punk and folk metal.[40] By the 1980s the genre was in steep decline in popularity, but has survived and revived in significance as part of a more general folk resurgence since the 1990s.[41]

Folk punk

Main article: folk punk

In the mid-1980s a new rebirth of English folk began, this time fusing folk with energy and political aggression derived from punk rock. Leaders included

Oyster Band and Billy Bragg.[42] Folk dance music also became popular in the 80s, with acts like the English Country Blues Band and Tiger Moth.[43] The decade later saw the use of reggae with English folk music by the band Edward II & the Red Hot Polkas, especially on their seminal Let's Polkasteady from 1987.[44]

Folk metal

Main article: folk metal
Eliza Carthy

In a process strikingly similar to the origins of British folk rock in the 1960s, the English thrash metal band Skyclad added violins from a session musician on several tracks for their 1990 debut album The Wayward Sons of Mother Earth.[45] When this was well received they adopted a full-time fiddle player and moved towards a signature folk and jig style leading them to be credited as the pioneers of folk metal, which has spread to Ireland, the Baltic and Germany.[45]

Traditional folk resurgence 1990–present

The peak of traditional English folk, like progressive and electric folk, was the mid- to late-1970s, when, for a time it threatened to break through into the mainstream. By the end of the decade, however, it was in decline.[46] The attendance at, and numbers of folk clubs began to decrease, probably as new musical and social trends, including punk rock, new wave and electronic music began to dominate.[47] Although many acts like Martin Carthy and the Watersons continued to perform successfully, there were very few significant new acts pursuing traditional forms in the 1980s. This began to change with a new generation in the 1990s. The arrival and sometimes mainstream success of acts like Kate Rusby, Bellowhead, Nancy Kerr, Kathryn Tickell, Jim Moray, Spiers and Boden, Seth Lakeman, Frank Turner, Laura Marling and Eliza Carthy, all largely concerned with acoustic performance of traditional material, marked a radical turn around in the fortunes of the tradition.[22] This was reflected in the adoption creation of the BBC Radio 2 Folk Awards in 2000, which gave the music a much needed status and focus and the profile of folk music is as high in England today as it has been for over thirty years.[48]

Folk clubs

Main article:
Folk clubs

Although there were a handful of clubs that allowed space for the performance of traditional folk music by the early 1950s, its major boost came from the short-lived British

pub in Soho, co-founded by Ewan MacColl.[12] As the craze subsided from the mid-1950s many of these clubs began to shift towards the performance of English traditional folk material.[17] Many became strict 'policy clubs', that pursued a pure and traditional form of music.[12] By the mid-1960s there were probably over 300 in Britain.[17] Most clubs were simply a regular gathering, usually in the back or upstairs room of a public house on a weekly basis.[49] They were largely a phenomenon of the urbanised middle classes and known for the amateur nature of many performances.[50] There were also 'residents', who performed regular short sets of songs.[51] Many of these later emerged as major performers in their own right, including A. L. Lloyd, Martin Carthy, and Shirley Collins.[52] A later generation of performers used the folk club circuit for highly successful mainstream careers, including Billy Connolly, Jasper Carrott, Ian Dury and Barbara Dickson.[17] The number of clubs began to decline in the 1980s, in the face of changing musical and social trends. But the decline began to stabilize in the mid-1990s with the resurgence of interest in folk music and there are now over 160 folk clubs in the United Kingdom, including many that can trace their origins back to the 1950s.[53]

Folk music and the radio

The difficulty of gaining regular appearances on television in England has long meant that radio has remained the major popular medium for increasing awareness of the genre. The EFDSS sponsored the

World Service. He currently hosts "fRoots Radio" on the web.[58]
For over twenty years, until 2006, Charlie Gillett presented World music on BBC London.

Folk festivals

Main article:
folk festival
The Cambridge Folk Festival 2008

Folk festivals began to be organised by the EFDSS from about 1950, usually as local or regional event with an emphasis on dance, like the

Cambridge was founded in 1965 and attracts about 10,000 people.[59] Probably the largest is Fairport's Cropredy Convention, which since 1979 has provided a venue for folk, British folk rock, and rock artists; it now attracts up to 20,000 people a year as well as performances for Fairport Convention and their friends.[60] Like rock festivals, folk festivals have begun to multiply since the 1990s and there are over a hundred folk festivals or varying sizes held in England every year.[61]

Forms of folk music

Ballads

Main article:
Ballads

A ballad is a form of verse, often a narrative story and set to music. Many ballads were written and sold as single sheet

minstrels of late medieval Europe.[62] There have been many different and contradictory attempts to classify traditional ballads by theme, but commonly identified types are religious, supernatural, tragic, love, historic, legends and humour.[62] Many ballads were brought by English settlers to the New World
, thus contributing in part to the bedrock of American folk music that had been established via the Afro-American rhythmic traditions, the blues aesthetic, and the cross-pollination of the American immigrant cultures at the time.

Carols

Main article:
Carols

A carol is a festive song. In modern times, carols are associated primarily with Christmas, but in reality there are carols celebrating all festivals and seasons of the year, and not necessarily Christian festivals. They were derived from a form of

Protestant Reformation which banned many religious festivals, but some famous carols were written in this period, including 'The Holly and the Ivy' and they were more strongly revived from the 19th century and began to be written and adapted by eminent composers.[65]

Children's songs

Main article:
Children's songs
John Newbery's A Little Pretty Pocket Book

The earliest vernacular children's songs in Europe are

James Orchard Halliwell's, The Nursery Rhymes of England (1842) and Popular Rhymes and Tales in 1849.[69] At the height of the revival Sabine Baring-Gould produced A Book of Nursery Songs (1895), and Andrew Lang produced The Nursery Rhyme Book in 1897.[67] Children's songs, unlike folk songs, have remained part of a living and continuous tradition, for although added to from other sources and affected by written versions, most adults pass on songs they learned from oral sources as children.[68]

Erotic folk songs

It has been noted by most recent commentators on English folk song even if it was a bit immoral, that love, the erotic and even the pornographic, were major traditional themes and, if more than ballads are considered, may have been the largest groups of printed songs.

bowdlerized them for publication, as Francis Child and Cecil Sharp did in their collections.[71] In the second revival, erotic folk song was much more accepted as part of the canon of traditional song, helped by the publication of books such as Gershon Legman's, The Horn Book: Studies in Erotic Folklore (1964) and Ed Cray's, The Erotic Muse: American Bawdy Songs, which printed many previously unpublished songs (1968).[72] In England A. L. Lloyd was the key figure in introducing erotic songs to the canon, lecturing and publishing on the subject. He recorded The Foggy Dew and Other Traditional English Love Songs in 1959, and then The Bird in the Bush, Traditional Erotic Songs in 1966 with Frankie Armstrong, and Anne Briggs.[73] He drew a distinction between erotic songs, i.e. those that dealt with love and suggested sexuality through innuendo (like 'The Bonny Black Hare' and 'The Bird in the Bush'), and pornographic songs that were explicit and therefore unworthy of attention.[74] Some authors, however, find these distinctions more difficult to maintain. Although erotic songs became part of the standard fare in folk clubs and among folk rock musicians, relatively few of the more explicit songs have been placed on record.[75]

Hornpipes

Main article: Hornpipe

The hornpipe is a style of dance music thought to have taken its name from an English reed instrument by at least the 17th century.

Sailor's Hornpipe, but has formed the basis of many individual and group country dances into the modern period.[77] Like many dances it was taken up in Scotland and Ireland and given a distinctive national character and moved to America with emigration.[78]

Jigs

Main article:
Jigs

Jigs are a style of dance music developed in England to accompany a lively dance with steps, turns and leaps. The term jig was derived from the French 'giguer', meaning 'to jump'.[10] It was known as a dance in the 16th century, often in 2/4 time and the term was used for a dancing entertainment in 16th century plays.[79] The dance began to be associated with music particularly in 6/8 time, and with slip jigs 9/8 time.[78] In the 17th century the dance was adopted in Ireland and Scotland, where they were widely adapted, and with which countries they are now most often associated.[80] In some, usually more northern, parts of England, these dances would be referred to as a "Gallop" – such as the Winster Gallop from Derbyshire (though this owes its origins to the Winster Morris).

Morris dance

Main article: Morris dance
English Elizabethan clown Will Kempe dancing a jig from Norwich to London in 1600

A morris dance is a type of English folk dance, usually accompanied by music, and based on rhythmic stepping and the execution of choreographed figures by a group of dancers, often using implements such as sticks, swords, and handkerchiefs. The name is thought to derive from the term 'moorish dance', for Spanish (Muslim) styles of dance and may derive from English court dances of the period.

rapper dance and Long Sword dance
.

Protest songs

Main article:
Protest songs § Early protest songs from Britain

Perhaps the oldest clear example of an English protest song is the rhyme 'When Adam delved and Eve span, who was then the gentleman?', used in the

English Rebel Songs 1381–1914.[93] Ewan MacColl became the leading writer of English protest songs in the 1950s, with pro-communist songs such as "The Ballad of Ho Chi Minh" and "The Ballad of Stalin", as well as volatile protest and topical songs concerning the nuclear threat to peace, most notably "Against the Atom Bomb".[94] The leading voice of protest in Thatcherite Britain in the 1980s was Billy Bragg, whose style of protest song and grass-roots political activism was mostly reminiscent of those of Woody Guthrie.[95]

Sea shanties

Main article:
Sea shanties
Sailors working at a capstan with musical accompaniment

Sea shanties are a type of work song traditionally sung by sailors. Derived from the French word 'chanter', meaning 'to sing', they may date from as early as the 15th century, but most recorded examples derive from the 19th century.[96] Shanties were usually slow rhythmic songs designed to help with collective tasks on labour-intensive sailing and later steam ships. Many were call and response songs, with one voice (the shantyman) singing a lead line and the rest of the sailors giving a response together. They were derived from varied sources, including dances, folk songs, polkas, waltzes and even West African work-songs.[97] Since different songs were useful for different tasks they are traditionally divided into three main categories, short haul shanties, for tasks requiring quick pulls over a relatively short time; halyard shanties, for heavier work requiring more set-up time between pulls; and Capstan shanties, for long, repetitive tasks requiring a sustained rhythm, but not involving working the lines.[97] Famous shanties include, the 'Blow the Man Down and 'Bound for South Australia', some of which have remained in the public consciousness or been revived by popular recordings. There was some interest in sea shanties in the first revival from figures like Percy Grainger,[98] who recorded several traditional versions on phonographs.[99][100][101] In the second revival A. L. Lloyd attempted to popularise them, recording several albums of sea songs from 1965.[21]

War songs

Main article:
War songs

In England songs about military and naval subjects were a major part of the output of

ballad writers from the 16th century onwards, including one of the earliest British ballads 'The Ballad of Chevy Chase', which deals with the events of the Scottish victory of the Battle of Otterburn in 1388 and may date to the early 15th century.[102] The conflicts between England and Spain in the later 16th and early 17th centuries produced a number of ballads describing events, particularly naval conflicts like those of the Spanish Armada.[89] The English Civil War (1642–1653) produced a subgenre of "Cavalier ballads", including "When the King Home in Peace Again".[103] Many of these were adapted and reused by Jacobites after the 'Glorious Revolution' of 1688.[104] The Anglo-French Wars of the 17th and 18th centuries saw more descriptive works, usually couched in patriotic terms, but some, like 'Captain Death' (1757) dealt with loss and defeat.[89] As regimental identities emerged songs were adopted for marching, like 'The British Grenadiers', based on a 17th-century dance tune.[105] Output became a flood during the French Revolutionary and Napoleonic Wars (1797–1815), seeing numerous patriotic war songs, like 'Heart of Oak' and the emergence of a stereotype of the English seaman as 'Jolly Jack Tar', who appeared in many ballads and on stage.[106] As the musical hall began to take over the lead in popular music and folk song declined, folk song ceased to deal with contemporary wars in the later 19th century.[citation needed
]

Work songs

Main article:
Work songs

Work songs include music sung while conducting a task (often to coordinate timing) or a song linked to a task or trade which might be a connected

textile production, mining and eventually steel, shipbuilding, rail working and other industries.[109]

Regional traditions

East Anglia

Molly dancers at Whittlesea Straw Bear Festival

Like many regions of England there are few distinctive local instruments and many songs were shared with the rest of Britain and with Ireland, although the distinct dialects of the regions sometimes lent them a particular stamp and, with one of the longest coastlines of any English region, songs about the sea were also particularly important. Along with the West Country, this was one of the regions that most firmly adopted reed instruments, producing many eminent practitioners of the melodeon from the mid-19th century. Also like the West Country it is one of the few regions where there is still an active tradition of

Young Tradition and in theatrical productions was probably one of the most influential musicians of the post revival period.[114] The Norfolk melodeon player and singer Tony Hall has given the tradition a unique style.[115] East Anglia made a contribution to the British folk rock scene of the 1970s, producing the short-lived, but more recently reformed, bands Midwinter and Stone Angel, based in Great Yarmouth and the more successful Spriguns of Tolgus from Cambridge, who produced four albums.[116] The most successful folk artists from the region in recent years are probably the Essex born Billy Bragg and the Norfolk born Beth Orton.[117] The region is home to numerous folk clubs and hosts many folk festivals, including Steeleye Span's Spanfest at Kentwell Hall, Suffolk and the Cambridge Folk Festival, generally seen as the most prestigious in the calendar.[61] Since 2000 the East Anglian Traditional Music Trust has been promoting folk music in the region, organising a 'Traditional Music Day' every year in August.[118]

The Midlands

Due to its lack of clear boundaries and a perceived lack of identity in its folk music, the

Albion Band fiddler Joe Broughton, which provides something of a clearing house of promising young folk musicians.[125] The regions has numerous folk clubs and host many major folk festivals, including those of Gainsborough, Lincolnshire; Loughborough, Leicestershire; Shrewsbury, Shropshire; Warwick, Warwickshire; and Moseley, West Midlands.[126]

The North West

Although relatively neglected in the first folk revival

James Orchard Halliwell, and he was followed a little later by John Harland, William E. Axon, Thomas T. Wilkinson and Sidney Gilpin, who performed a similar service for Cumberland.[129] Most of these works, although important in unearthing, and in some cases preserving, locally relevant ballads, largely depended on manuscript sources, rather than oral collection and often did not give tunes, but only lyrics.[127] It was not until the second folk revival that the full range of song from the region began to gain attention. The region not only produced one of the major figures of the revival in Ewan MacColl but also a local champion in Harry Boardman, who from 1965 onwards probably did more than anyone to popularise and record the industrial folk song of the region, in several albums and books.[130] The region produced no significant bands in the folk rock movement of the 1970s but can claim one of the most significant figures, as Maddy Prior was brought up in Blackpool. However, perhaps the most influential folk artists to emerge from the region in this period were folk troubadour Roy Harper and comedian and broadcaster Mike Harding.[131] More recently it has produced some significant performers including guitarist Ken Nicol and mother and daughter singer songwriters Chris and Kellie While.[132] The region is home to numerous folk clubs, many of them catering to Irish and Scots folk. Folk festivals include the Fylde Folk Festival at Fleetwood in Lancashire.[133]

Northumbria

Main article: Music of Northumbria
Billy Purvis (1784–1853) one of the last travelling minstrel pipers of the south of Scotland and the north east of England.

Rachel Unthank and the Winterset gaining international reputations.[22] Currently the region has over thirty active folk clubs and hosts several major folk festivals, including the Traditional Music Festival at Rothbury.[137][138]

The South East

Even excluding Sussex and London,

Oyster Band, formed in Canterbury, while guitarist John Martyn came from Surrey and fiddle player Chris Leslie from Banbury in Oxfordshire. From the current crop of young folk musicians probably the most prominent are Spiers and Boden from Oxfordshire and Chris Wood, born in Kent. The region is host to numerous folk clubs, and festivals, including the Oxford festival and Fairport's Cropredy Convention in Oxfordshire and St Albans in Hertfordshire.[133]

London

Street vendors in a 16th-century print

Despite being the centre of both folk revivals and the British folk rock movement, the songs of

Mumford and Sons, The Border Surrender and Anna Tam.[144][145]

Sussex

Main article: Music of Sussex

Young Tradition.[150] The county has over twenty folk clubs and other venues hosting folk music by organisations such as Acoustic Sussex. There are also annual folk music festivals at Eastbourne, Crawley and Lewes.[151]

The West Country

Cornwall

Main article: Music of Cornwall
The red party attending the red 'obby 'oss in the Padstow mayday festival

The music of

mumming, guise dancing, and social dance.[154] These seem to have been interrupted by the Reformation and Civil War and Commonwealth in the 16th and 17th centuries.[155] However, there was revival from the late 18th century and seasonal and community festivals, mumming and guising all flourished.[156] In the 19th century a strong tradition of nonconformity and temperance may also have affected dancing and music adversely and encouraged choral and brass band movements, while traditional tunes were used for carols. Some community events survived, such as the 'Obby 'Oss festival in Padstow and the Furry Dance in Helston.[157] Folk songs include 'Sweet Nightingale', 'Little Eyes', and 'Lamorna'. 'Trelawny' is often sung at sporting events and is seen by many as an unofficial anthem.[158] Few traditional Cornish lyrics survived the decline of the language, but in some cases lyrics of common English songs became attached to older Cornish tunes.[159] Some folk tunes have Cornish lyrics written since the language revival of the 1920s.[159] Modern Cornish musicians include the former Cornish folk singer Brenda Wootton and the Cornish-Breton family band Anao Atao.[159] Recently bands like Sacred Turf, Skwardya and Krena, have begun performing British folk rock in the Cornish language.[160] The Cornwall Folk Festival has been held annually for more than three decades.[161]

The rest of the West Country

Seth Lakeman on stage in 2008

Outside Devon and Cornwall Celtic influence on music in the

Sidmouth in Devon along with its associated 'Late Night Extra' venue at Bulverton .[169]

Yorkshire

folk music festivals.[176] In 2007, the Yorkshire Garland Group was formed to make Yorkshire folk songs accessible online and in schools.[177]

See also

Notes

  1. ^ R. I. Page, Life in Anglo-Saxon England (London: Batsford, 1970), pp. 159–60.
  2. ^ C. Parrish, The Notation of Medieval Music (Maesteg: Pendragon Press, 1978).
  3. ^ a b J. Forrest, The History of Morris Dancing, 1458–1750 (Toronto: University of Toronto Press, 1999), p. 48.
  4. ^ a b c d e f g h B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press, 2005), pp. 45–9.
  5. ^ D. Starkey, Henry VIII: A European Court in England (London: Collins & Brown in association with the National Maritime Museum, Greenwich, 1991), p. 154.
  6. ^ a b c Peter Burke, Popular Culture in Early Modern Europe (London: Billing, 1978), pp. 3, 17–19 and 28.
  7. ^ D. C. Price, Patrons and Musicians of the English Renaissance (Cambridge: Cambridge University Press, 1981), p. 5.
  8. ^ J. Wainwright, P. Holman, From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century (Aldershot: Ashgate, 2005).
  9. ^ M. Chanan, Musica Practica: The Social Practice of Western Music from Gregorian Chant to Postmodernism (London: Verso, 1994), p. 179.
  10. ^ a b c J. Ling, L. Schenck and R. Schenck, A History of European Folk Music (Woodbridge: Boydell, 1997), pp. 123, 160 and 194.
  11. ^ "Never heard of Barbara Allen? The world's most collected ballad has been around for 450 years..." www.bbc.co.uk. Retrieved 2020-10-03.
  12. ^ a b c d e f g G. Boyes, The Imagined Village: Culture, Ideology, and the English Folk Revival (Manchester: Manchester University Press, 1993), p. 214.
  13. ^ W. B. Sandys, Christmas Carols Ancient and Modern (London, 1833); W. Chappell, A Collection of National English Airs (London, 1838) and R. Bell, Ancient Poems, Ballads and Songs of the Peasantry of England (London, 1846).
  14. ^ D. Russell, Popular Music in England, 1840–1914: A Social History (Montreal: McGill-Queen's University Press, 1987), pp. 160–90.
  15. ^ D. Kift, The Victorian Music Hall: Culture, Class, and Conflict (Cambridge: Cambridge University Press, 1996), p. 17.
  16. ^ W. Boosey, Fifty Years of Music (1931, Read Books, 2007), p. 161.
  17. ^ a b c d e f g h i j M. Brocken, The British Folk Revival, 1944–2002 (Aldershot: Ashgate, 2003), pp. 6, 8, 32, 38, 53–63, 68–70, 74–8, 97, 99, 103, 112–4 and 132.
  18. ^ S. Sadie and A. Latham, The Cambridge Music Guide (Cambridge: Cambridge University Press, 1990), p. 472.
  19. ^ "Percy Grainger ethnographic wax cylinders – World and traditional music | British Library – Sounds". sounds.bl.uk. Archived from the original on 2020-10-18. Retrieved 2020-10-03.
  20. ^ a b J. Connell and C. Gibson, Sound Tracks: Popular Music, Identity, and Place (Routledge, 2003), pp. 34–6.
  21. ^ a b c B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press, 2005), pp. 32–6.
  22. ^ a b c d e f g h i S. Broughton, M. Ellingham, R. Trillo, O. Duane, V. Dowell, World Music: The Rough Guide (London: Rough Guides, 1999), pp. 66–8 and 79–80.
  23. ^ B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press, 2005), pp. 184–9.
  24. doi:10.1093/ref:odnb/57088. Retrieved 2020-09-09. (Subscription or UK public library membership
    required.)
  25. doi:10.1093/ref:odnb/57087. Retrieved 2020-09-09. (Subscription or UK public library membership
    required.)
  26. ^ "Fred Jordan - A Shropshire Lad CD review - The Living Tradition Magazine". www.folkmusic.net. Archived from the original on 2021-09-23. Retrieved 2021-01-20.
  27. doi:10.1093/ref:odnb/63074. Retrieved 2020-09-09. (Subscription or UK public library membership
    required.)
  28. ^ david. "Frank Hinchliffe - In Sheffield Park". Topic Records. Retrieved 2020-09-08.
  29. ^ Sansom, Ian (2011-08-05). "Great dynasties of the world: The Copper Family". The Guardian. Retrieved 2021-10-05.
  30. ^ "Archive collections". www.vwml.org. Retrieved 2020-10-03.
  31. ^ "Percy Grainger ethnographic wax cylinders - World and traditional music | British Library - Sounds". sounds.bl.uk. Archived from the original on 2021-10-29. Retrieved 2021-10-05.
  32. ^ B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press, 2005), p. 203.
  33. ^ B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press, 2005), p. 40.
  34. Milwaukie MI, Hal Leonard
    , 2003), p. 120.
  35. ^ P. Buckley, The Rough Guide to Rock: the definitive guide to more than 1200 artists and bands (London: Rough Guides, 2003), pp. 145, 211–12, 643–4.
  36. ^ "Sold on Song", BBC Radio 2, retrieved 19/02/09.
  37. ^ B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press, 2005), pp. 21–5.
  38. ^ B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press, 2005), pp. 84, 97 and 103–5.
  39. ^ J. S. Sawyers, Celtic Music: A Complete Guide (Cambridge MA: Da Capo Press, 2001), pp. 1–12.
  40. ^ B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press, 2005), pp. 240–57.
  41. ^ B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press, 2005), pp. 266–70.
  42. ^ B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford University Press, 2005), pp. 197–8.
  43. ^ S. Broughton and M. Ellingham, World Music: Latin and North America, Caribbean, India, Asia and Pacific Volume 2 of World Music: The Rough Guide (Rough Guides, 1999), p. 75.
  44. ^ B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford University Press, 2005), p. 136.
  45. ^
    Allmusic
    . Retrieved 2008-03-10.
  46. ^ V. Bogdanov, C. Woodstra and S. T. Erlewine, All music guide to rock: the definitive guide to rock, pop, and soul (Backbeat Books, 3rd edn., 2002), pp. 1354–5.
  47. ^ B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press, 2005), p. 94.
  48. ^ D. Else, J. Attwooll, C. Beech, L. Clapton, O. Berry, and F. Davenport, Great Britain (London, Lonely Planet, 2007), p. 75.
  49. ^ B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press, 2005), p. 37.
  50. ^ B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press, 2005), p. 113.
  51. ^ R. H. Finnegan, The Hidden Musicians: Music-Making in an English Town (Middletown, CT: Wesleyan University Press, 2007), pp. 57–61.
  52. ^ B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press, 2005), p. 45.
  53. ^ Folk and Roots, http://www.folkandroots.co.uk/Venues_North_East.html Archived 2009-05-30 at the Wayback Machine, retrieved 24/02/09.
  54. ^ a b c B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press, 2005), p. 119.
  55. ^ Lifton, Sarah (1983) The Listener's Guide to Folk Music. Poole: Blandford Press; p. 9
  56. ^ S. Street, A Concise History of British Radio, 1922–2002 (Tiverton: Kelly Publications, 2002), p. 129.
  57. ^ BBC Press release http://www.bbc.co.uk/mediacentre/latestnews/2012/mark-radcliffe-adds-folk-to-radio-2-roster.html, retrieved 18/10/2012.
  58. ^ fRoots radio, http://www.frootsmag.com/radio/ Archived 2007-12-25 at the Wayback Machine fRoots radio, retrieved 17/02/09.
  59. ^ a b B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press, 2005), pp. 116–7.
  60. ^ F. Redwood and M. Woodward, The Woodworm Era, the Story of Today's Fairport Convention (Thatcham: Jeneva, 1995), p. 76.
  61. ^ a b Folk and Roots, "Folk and Roots - 2009 Folk Festivals - Britain". Archived from the original on 2009-02-24. Retrieved 2009-02-25., retrieved 16/02/09.
  62. ^ a b c J. E. Housman, British Popular Ballads (London: Ayer, 1969), pp. 15 and 29.
  63. ^ J. J. Walsh, Were They Wise Men Or Kings?: The Book of Christmas Questions (Westminster: John Knox Press, 2001), p. 60.
  64. ^ W. J. Phillips, Carols; Their Origin, Music, and Connection with Mystery-Plays (Routledge, 1921, Read Books, 2008), p. 24.
  65. ^ W. E. Studwell, The Christmas Carol Reader (Philadelphia, PA: Haworth Press, 1995), p. 3.
  66. ^ S. Lerer, Children's Literature: a Reader's History, from Aesop to Harry Potter (Chicago Il: University of Chicago Press, 2008), pp. 69–70.
  67. ^ a b c I. Opie and P. Opie, The Oxford Dictionary of Nursery Rhymes (Oxford: Oxford University Press, 1951, 2nd edn., 1997), pp. 30–1, 47–8, 128–9 and 299.
  68. ^ a b c d H. Carpenter and M. Prichard, The Oxford Companion to Children's Literature (Oxford: Oxford University Press, 1984), pp. 363–4, 383.
  69. ^ R. M. Dorson, The British Folklorists: a History (London, Taylor & Francis, 1999), p. 67.
  70. ^ J. Wardroper, Lovers, Rakes and Rogues, Amatory, Merry and Bawdy Verse from 1580 to 1830 (London: Shelfmark, 1995), p. 9.
  71. ^ M. Shiach, Discourse on Popular Culture: Class, Gender, and History in Cultural Analysis, 1730 to the Present, (Stanford CA: Stanford University Press, 1989), p. 122 and 129.
  72. ^ E. Cray, The Erotic Muse: American Bawdy Songs (Champaign, IL: University of Illinois Press, 1968) and G. Legman, The Horn Book: Studies in Erotic Folklore and Bibliography (New York: University Books, 1964).
  73. ^ B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press, 2005), p. 216.
  74. ^ R. Pegg, Folk (Wildwood House: London, 1976), p. 76.
  75. ^ G. Legman, 'Erotic folk songs and international bibliography' Archived 2011-07-22 at the Wayback Machine, Journal of American Folklore (1990), 16/02/09.
  76. ^ G. Larsen, The Essential Guide to Irish Flute and Tin Whistle (Pacific, MO: Mel Bay Publications, 2003), p. 31.
  77. ^ E. Aldrich, S. N. Hammond, A. Russell. The Extraordinary Dance Book T B. 1826: An Anonymous Manuscript in Facsimile (Maesteg: Pendragon Press, 2000), p. 10.
  78. ^ a b J. Lee and M. R. Casey, Making the Irish American: History and Heritage of the Irish in the United States (New York University Press, 2006), p. 418.
  79. ^ C. R. Wilson and M. Calore, Music in Shakespeare: A Dictionary (London: Continuum International, 2005), p. 233.
  80. ^ M. Raven, ed., One Thousand English Country Dance Tunes (Michael Raven, 1999), p. 106.
  81. Oxford Companion to Music
    , vol. 2 (Oxford: Oxford University Press, 1983), p. 1203; M. Esses, Dance and Instrumental Diferencias in Spain During the 17th and Early 18th Centuries (Maesteg: Pendragon Press, 1992), p. 467.
  82. ^ R. Hutton, The Rise and Fall of Merry England, The Ritual Year 1400–1700 (Oxford: Oxford University Press, 1994), pp. 200–26.
  83. ^ T. Buckland, Dancing from Past to Present: Nation, Culture, Identities (Madison, WI: University of Wisconsin Press, 2006), p. 199.
  84. ^ B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press, 2005), p. 232.
  85. ^ B. R. Smith, The Acoustic World of Early Modern England: Attending to the O-factor (Chicago Il: University of Chicago Press, 1999), p. 143.
  86. ^ P. H. Freedman, Images of the Medieval Peasant (Stanford CA: Stanford University Press, 1999), p. 60.
  87. ^ G. Seal, The Outlaw Legend: A Cultural Tradition in Britain, America and Australia (Cambridge: Cambridge University Press, 1996), pp. 19–31.
  88. H. J. Stenning
    (London: Routledge, 1963), pp. 111–12.
  89. ^ a b c d V. de Sola Pinto and A. E. Rodway, The Common Muse: An Anthology of Popular British Ballad Poetry, XVth-XXth Century (Chatto & Windus, 1957), pp. 39–51, 145, 148–50, 159–60 and 250.
  90. ^ K. Binfield, ed., The Writings of the Luddites (Baltimore, MD: Johns Hopkins University Press, 2004), pp. 98–100.
  91. ^ V. Gammon, 'The Grand Conversation: Napoleon and British Popular Balladry' Musical Traditions, retrieved 19/02/09.
  92. ^ J. Raven, The Urban & Industrial Songs of the Black Country and Birmingham (Michael Raven, 1977), pp. 52 and 61 and M. Vicinus, The Industrial Muse: A Study of Nineteenth Century British Working-class Literature (London: Taylor & Francis, 1974), p. 46.
  93. ^ 'Reviews' BBC Radio 2, http://www.bbc.co.uk/radio2/r2music/folk/reviews/englishrebelsongs.shtml, retrieved 19/02/09.
  94. ^ C. Irwin,'Power to the people; Aldermaston: The birth of the British protest song", 2008-08-10, 'The Guardian' https://www.theguardian.com/music/2008/aug/10/folk.politicsandthearts, retrieved on 19/02/09.
  95. ^ M. Willhardt, 'Available rebels and folk authenticities: Michelle Shocked and Billy Bragg' in I. Peddie, ed., The Resisting Muse: Popular Music and Social Protest (Aldershot: Ashgate, 2006), pp. 30–48.
  96. ^ R. A. Reuss and A. Green, Songs about Work: Essays in Occupational Culture (Bloomington, IN: Indiana University Press, 1993), p. 335.
  97. ^ a b S. Hugill, Shanties from the Seven Seas: Shipboard Work-songs and Songs Used as Work-songs from the Great Days of Sail (Routledge, 1980). pp. 10–11 and 26.
  98. ^ a b J. Bird, Percy Grainger (Oxford: Oxford University Press, 1999), p. 125.
  99. ^ "What shall we do with a drunken sailor – Percy Grainger ethnographic wax cylinders – World and traditional music | British Library – Sounds". sounds.bl.uk. Archived from the original on 2021-02-03. Retrieved 2020-10-03.
  100. ^ "Shenandoah – Percy Grainger ethnographic wax cylinders – World and traditional music | British Library – Sounds". sounds.bl.uk. Retrieved 2020-10-03.
  101. ^ "All away Joe – Percy Grainger ethnographic wax cylinders – World and traditional music | British Library – Sounds". sounds.bl.uk. Retrieved 2020-10-03.
  102. ^ A. Goodman and A. Tuck, eds, War and Border Societies in the Middle Ages (London: Routledge, 1992), pp. 6–7.
  103. ^ C. Mackay, ed., The Cavalier Songs and Ballads of England, from 1642 to 1684 (London: R. Griffin, 1863).
  104. ^ C. Mackay, ed., The Jacobite Songs and Ballads of Scotland from 1688 to 1746: With an Appendix of Modern Jacobite Songs (London: R. Griffin, 1861).
  105. ^ W. E. Studwell, The National and Religious Song Reader: Patriotic, Traditional, and Sacred Songs from Around the World (Philadelphia, PA: Haworth Press, 1996), p. 55.
  106. ^ J. S. Bratton, Acts of Supremacy: The British Empire and the Stage, 1790–1930 (Manchester: Manchester University Press, 1991), pp. 33–5.
  107. ^ S. Baring-Gould, An Old English Home and Its Dependencies (1898, Read books, 2008), p. 205.
  108. ^ P. M. Peek and K. Yankah, African Folklore: An Encyclopedia (London: Taylor & Francis, 2004), p. 520.
  109. ^ a b A. L. Lloyd, Folk song in England (London: Lawrence and Wishart, 1967), pp. 323–8.
  110. ^ J. Shepherd, Continuum Encyclopedia of Popular Music, vol. 1: Media, Industry and Society (Continuum International Publishing Group, 2003), p. 251.
  111. ^ 'Step Dancing', East Anglian Traditional Music Trust, http://www.eatmt.org.uk/stepdancing.htm, retrieved 16/02/09.
  112. ^ R. Vaughan Williams, Folk Songs from the Eastern Counties (London, 1908) and E. J. Moeran, Six Folk Songs from Norfolk (London, 1924) and E. J. Moeran, Six Suffolk Folk-Songs (London, 1932).
  113. ^ East Anglian Traditional Music Trust, http://www.eatmt.org.uk/profiles.htm, retrieved 16/02/09.
  114. ^ 'Peter Bellamy', Daily Telegraph, 26/9/08.
  115. ^ "Review of Tony Hall, Mr Universe", Living Tradition, http://www.folkmusic.net/htmfiles/webrevs/osmocd003.htm, retrieved 03/11/09.
  116. ^ 'History', Stone Angel, "Archived copy". Archived from the original on 2008-08-28. Retrieved 2009-02-25.{{cite web}}: CS1 maint: archived copy as title (link), retrieved 04/02/09 and 'Spriguns of Tolgus', NME Artists, http://www.nme.com/artists/spriguns Archived 2012-01-11 at the Wayback Machine, retrieved 02/02/09.
  117. ^ Billy Bragg, official website, http://www.billybragg.co.uk/, retrieved 17/02/09 and Beth Orton, official website, "Beth Orton". Archived from the original on 2009-03-05. Retrieved 2009-02-25., retrieved 17/02/09.
  118. ^ East Anglian Traditional Music Trust, http://www.eatmt.org.uk/index.html, retrieved 16/02/09.
  119. ^ The Pipers' Gathering, http://www.pipersgathering.org/PB2004.shtml, retrieved 16/02/09.
  120. ^ R. B. Dobson and J. Taylor, Rymes of Robyn Hood, An Introduction to the English Outlaw (London: Book Club Associates, 1976), p. 14.
  121. ^ L. Jewitt, The Ballads & Songs of Derbyshire, with Illustrative Notes, and Examples of the Original Music, etc. (London, 1867); C. S. Burne, ed., Shropshire Folk-Lore: A Sheaf of Gleanings, from the Collections of Georgina F. Jackson, rpt. in 2 parts (Wakefield: EP Publishing, 1973–4).
  122. ^ P. O'Shaughnessy, ed. Twenty-One Lincolnshire Folk-Songs from the Manuscript Collection of Percy Grainger (Oxford: Oxford University Press, 1968).
  123. ^ R. Palmer, ed., Songs of the Midlands (Wakefield: EP Publishing, 1972); M. Raven, ed., The Jolly Machine: Songs of Industrial Protest and Social Discontent from the West Midlands (Stafford Spanish Guitar Centre, 1974); R. Palmer, ed., Birmingham Ballads: Facsimile Street Ballads (City of Birmingham Education Department, 1979).
  124. ^ Salut Live! http://www.salutlive.com/2007/07/martin-simpson-.html, retrieved 16/02/09.
  125. ^ Birmingham Conservatoire Folk Ensemble, Official website http://www.folkensemble.co.uk/, retrieved 16/02/09.
  126. ^ Folk and Roots, "Folk and Roots - 2009 Folk Festivals - Britain". Archived from the original on 2009-02-24. Retrieved 2009-02-25., retrieved 17/02/09.
  127. ^ a b c D. Gregory, The Songs of the People for Me: The Victorian Rediscovery of Lancashire Vernacular Song, Canadian Folk Music/Musique folklorique canadienne, 40 (2006), pp. 12–21.
  128. ^ Lancashire Folk, http://www.lancashirefolk.co.uk/Morris_Information.htm Archived 2016-03-26 at the Wayback Machine, retrieved 16/02/09.
  129. ^ J. O. Halliwell, ed., Palatine Anthology: A Collection of Ancient Poems and Ballads Relating to Lancashire and Cheshire (London: Halliwell,1850) and his Palatine Garland, being a Selection of Ballads and Fragments Supplementary to the Palatine Anthology (London: Halliwell. 1850); J. Harland, ed., Ballads and Songs of Lancashire, Chiefly Older than the Nineteenth Century (London: Whittaker & Co., 1865. 2nd edn: London: 1875); William E. A. Axon, Folk Song and Folk-Speech of Lancashire: On the Ballads and Songs of the County Palatine, With Notes on the Dialect in which Many of them are Written, and an Appendix on Lancashire Folk-Lore (Manchester: Tubbs & Brook, 1887); John Harland & Thomas Turner Wilkinson, Lancashire Folk-lore (London: F. Warne, 1867); S. Gilpin, The Songs and Ballads of Cumberland and the Lake Country, with Biographical Sketches, Notes, and Glossary (2nd ed. 3 vols. London, 1874).
  130. ^ Folk North West, "Harry Boardman". Archived from the original on 2009-02-12. Retrieved 2009-02-25., retrieved 16/02/09.
  131. ^ J, C. Falstaff, 'Roy Harper Longest Running Underground Act', Dirty Linen, 50 (Feb/Mar '94), http://www.dirtylinen.com/feature/50harper.html Archived 2007-10-21 at the Wayback Machine, 16/02/09 and Mike Harding, official website, http://www.mikeharding.co.uk/, retrieved 16/02/09.
  132. ^ WhileandMatthews official website "Biog". Archived from the original on 2008-12-04. Retrieved 2009-02-25., retrieved 08/01/09.
  133. ^ a b 'Festivals', Folk and Roots, "Folk and Roots - 2009 Folk Festivals - Britain". Archived from the original on 2009-02-24. Retrieved 2009-02-25., retrieved 08/01/09.
  134. ^ J. Bell, ed., Rhymes of Northern Bards: Being a Curious Collection of Old and New Songs and Poems Peculiar to the Counties of Newcastle-upon-Tyne, Northumberland and Durham (1812), rpt. with an introduction by David Harker (Newcastle-upon-Tyne: Frank Graham, 1971); B. J. Collingwood, and J. Stokoe, eds, Northumbrian Minstrelsy: A Collection of the Ballads, Melodies, and Small-Pipe Tunes of Northumbria (Society of Antiquaries of Newcastle upon Tyne, Newcastle-upon-Tyne, 1882); and F. Kidson, English Folk-Song and Dance (Cambridge: Cambridge University Press, 1915, Read Books, 2008), p. 42.
  135. ^ A. Baines, Woodwind Instruments and Their History (Mineola, NY: Courier Dover, 1991), p. 328.
  136. ^ J. Reed, Border Ballads: A Selection (London: Routledge, 2004), p. 10.
  137. ^ Folk and Roots, http://www.folkandroots.co.uk/Venues_North_East.html Archived 2009-05-30 at the Wayback Machine, retrieved 15/02/09.
  138. ^ R. Denselow, "Rachel Unthank and the Winterset, The Bairns", Guardian 24 August 2007, https://www.theguardian.com/music/2007/aug/24/folk.shopping, retrieved 5/07/09.
  139. ^ J. Broadwood, Old English Songs, As Now Sung by the Peasantry of the Weald of Surrey and Sussex, and Collected by One Who Has Learnt Them by Hearing Them Sung Every Christmas from Early Childhood, by the Country People, Who Go About to the Neighbouring Houses, Singing, or 'Wassailing' as It Is Called, at that Season. The Airs Are Set to Music Exactly as They Are Now Sung, to Rescue Them from Oblivion, and to Afford a Specimen of Genuine Old English Melody: and the Words Are Given in Their Original Rough State, with an Occasional Slight Alteration To Render the Sense Intelligible (London, 1843).
  140. ^ G. B. Gardiner, Folk Songs from Hampshire (London: Novello, 1909) and A. E. Gillington, Eight Hampshire Folk Songs Taken from the Mouths of the Peasantry (London: Curwen, 1907); A. Williams, Folk songs of the Upper Thames (London, 1923) and C. Sharp, Cecil Sharp's Collection of English Folk Song, ed., Maud Karpeles, 2 vols (London: Oxford University Press, 1974).
  141. ^ Marcellus Laroon (artist) and Sean Shesgreen (editor), The Criers and Hawkers of London: Engravings and Drawings (Stanford CA: Stanford University Press, 1990), p. 100.
  142. ^ A. White, Old London street cries ; and, The cries of to-day: with heaps of quaint cuts including hand-coloured frontispiece / Cries of to-day (London: Field & Tuer, The Leadenhall Press, 1885).
  143. ^ P. Humphries, Meet on the Ledge, a History of Fairport Convention (London: Virgin Publishing Ltd, 2nd edn., 1997), pp. 7–9.
  144. ^ 'Folk music in the City', Independent, 06/02/09, retrieved 03/12/15.
  145. ^ folkandhoney.co.uk. "Anna Tam | Folk Band | Gig Listings - Artist Listed on Folk and Honey". www.folkandhoney.co.uk. Retrieved 2021-01-21.
  146. ^ W. P. Merrick, Folk Songs from Sussex (English Folk Dance and Song Society, 1953).
  147. ^ J. R. Watson, T. Dudley-Smith, An Annotated Anthology of Hymns (Oxford: Oxford University Press, 2003), p. 108.
  148. ^ Copper Family Website, http://www.thecopperfamily.com/index.html, retrieved 13/02/09.
  149. Canadian Journal for Traditional Music
    (1997).
  150. ^ Obituaries, 'Bob Copper', 1 April 2004, The Independent, [1][dead link].
  151. ^ Folk and Roots, http://www.folkandroots.co.uk/Venues_Sussex.html Archived 2009-02-14 at the Wayback Machine, retrieved 13/02/09; Folk in Sussex, "Folk in Sussex". Archived from the original on 2008-08-20. Retrieved 2009-02-25., retrieved 13/02/09.
  152. ^ K. Mathieson, ed., Celtic music (San Francisco CA: Backbeat Books, 2001) pp. 88–95.
  153. ^ H. Woodhouse, Cornish Bagpipes: Fact or Fiction? (Truro: Truran, 1994).
  154. ^ R. Hays, C. McGee, S. Joyce & E. Newlyn, eds., Records of Early English Drama, Dorset & Cornwall (Toronto: University of Toronto Press, 1999).
  155. ^ M. J. O'Connor, Ilow Kernow 3 (St. Ervan, Lyngham House, 2005).
  156. ^ M. J. O'Connor, An Overview of Recent Discoveries in Cornish Music, Journal of the Royal Institution of Cornwall (2007).
  157. ^ "Helston, Home of the Furry Dance". Borough of Helston.
  158. ^ H. F. Tucker, Epic: Britain's Heroic Muse 1790–1910 (Oxford: Oxford University Press, 2008), p. 452.
  159. ^ a b c P. B. Ellis, The Cornish Language and Its Literature: A History (Routledge, 1974), pp. 92–4, 186 and 212.
  160. ^ D. Harvey, Celtic Geographies: Old Culture, New Times (London: Routledge, 2002), pp. 223–4.
  161. ^ Cornwall folk festival, http://www.cornwallfolkfestival.com/, retrieved 16/02/09.
  162. ^ C. Hole and Val Biro, British Folk Customs (London: Hutchinson, 1976), p. 133.
  163. ^ J. Shepherd, Media, Industry and Society (London: Continuum International, 2003), p. 44.
  164. ^ D. Manning, Vaughan Williams on Music (Oxford: Oxford University Press, 2008), p. 284.
  165. ^ Civil Tawney, http://myweb.tiscali.co.uk/cyriltawney/enter.htm, retrieved 14/02/09.
  166. ^ 'Tony Rose' Independent on Sunday 12 June 2002, [2], retrieved 14/02/09.
  167. ^ Scrumpy and Western, http://www.scrumpyandwestern.co.uk/, retrieved 14/02/09.
  168. ^ L. Joint, 'Devon stars up for folk awards', BBC Devon, 01/06/09, http://www.bbc.co.uk/devon/content/articles/2009/01/06/folk_awards_2009_feature.shtml, retrieved 14/02/09.
  169. ^ Folk and Roots, "Folk and Roots - 2009 Folk Festivals - Britain". Archived from the original on 2009-02-24. Retrieved 2009-02-25., retrieved 14/02/09.
  170. ^ C. J. Sharp, Sword Dances of Northern England Together with the Horn Dance of Abbots Bromley, (Whitefish, MT: Kessinger Publishing, 2003).
  171. ^ C. J. D. Ingledew, Ballads and Songs of Yorkshire (London, 1860); C. Forshaw, Holyrod's Collection of Yorkshire Ballads (London, 1892).
  172. ^ N. Hudleston and M. Hudleston, Songs of the Ridings: The Yorkshire Musical Museum, ed., M. Gordon and R. Adams (Scarborough: G. A. Pindar and Son, 2001) and P. Davenport, ed., The South Riding Songbook: Songs from South Yorkshire and the North Midlands (South Riding Folk Network, 1998).
  173. ^ A. Kellett, On Ilkla Mooar baht 'at: the Story of the Song(Smith Settle, 1988).
  174. ^ F. J. Child, The English and Scottish Popular Ballads Dover Publications (New York, 1965), vol 1, p. 8.
  175. ^ a b R. Nidel, World Music: The Basics (London: Routledge, 2005), pp. 90–1.
  176. ^ Folk Roots, "Folk and Roots - the Guide to Yorkshire Folk Venues, Clubs, Resources and Artists". Archived from the original on 2013-02-09. Retrieved 2012-12-15., retrieved 12/02/09.
  177. ^ 'Folk songs of traditional Yorkshire to be celebrated on group's heritage website,' Yorkshire Post, http://www.yorkshirepost.co.uk/video/Folk-songs-of-traditional-Yorkshire.3166419.jp, retrieved 12/02/09.

External links

Retrieved from "https://en.wikipedia.org/w/index.php?title=English_folk_music&oldid=1212842092"