Folk music

Folk music is a music genre that includes traditional folk music and the contemporary genre that
evolved from the former during the 20th-century folk revival. Some types of folk music may be
called world music. Traditional folk music has been defined in several ways: as music transmitted
orally, music with unknown composers, music that is played on traditional instruments, music about
cultural or national identity, music that changes between generations (folk process), music
associated with a people's folklore, or music performed by custom over a long period of time. It has
been contrasted with commercial and classical styles. The term originated in the 19th century, but
folk music extends beyond that.

Starting in the mid-20th century, a new form of Folk music

popular folk music evolved from traditional folk
music. This process and period is called the
(second) folk revival and reached a zenith in the
1960s. This form of music is sometimes called
contemporary folk music or folk revival music to
distinguish it from earlier folk forms.[1] Smaller,
similar revivals have occurred elsewhere in the
world at other times, but the term folk music has
typically not been applied to the new music Béla Bartók recording peasant singers in
created during those revivals. This type of folk Zobordarázs, Kingdom of Hungary, (now Nitra,
music also includes fusion genres such as folk Slovakia) 1907
rock, folk metal, and others. While contemporary
Traditions List of folk music
folk music is a genre generally distinct from
traditions
traditional folk music, in U.S. English it shares the
same name, and it often shares the same Musicians List of folk musicians

performers and venues as traditional folk music. Instruments Folk instruments

Traditional folk music Other topics

Popular music · roots revival · Filk music · Folk

Definition punk

The terms folk music, folk song, and folk dance are comparatively recent expressions. They are
extensions of the term folklore, which was coined in 1846 by the English antiquarian William Thoms
to describe "the traditions, customs, and superstitions of the uncultured classes".[2] The term further
derives from the German expression Volk, in the
Traditional folk music
sense of "the people as a whole" as applied to
popular and national music by Johann Gottfried Stylistic origins Traditional music
Herder and the German Romantics over half a
Cultural origins Individual nations or
century earlier.[3] Though it is understood that folk regions
music is the music of the people, observers find a
more precise definition to be elusive.[4][5] Some do Derivative forms Popular music ·
Contemporary music
not even agree that the term folk music should be
used.[4] Folk music may tend to have certain Subgenres
[2]
characteristics but it cannot clearly be
Contemporary folk music (Western)
differentiated in purely musical terms. One
Contemporary folk music (non-Western)
meaning often given is that of "old songs, with no
(complete list)
known composers,"[6] another is that of music
that has been submitted to an evolutionary Fusion genres
"process of oral transmission... the fashioning
Folk metal · Folk rock · Neofolk · Anti-folk ·
and re-fashioning of the music by the community Skiffle
[7]
that give it its folk character."
Other topics
Such definitions depend upon "(cultural)
Roots revival · World music (term)
processes rather than abstract musical types...",
upon "continuity and oral transmission...seen as
characterizing one side of a cultural dichotomy, the other side of which is found not only in the lower
layers of feudal, capitalist and some oriental societies but also in 'primitive' societies and in parts of
'popular cultures'".[8] One widely used definition is simply "Folk music is what the people sing."[9]

For Scholes,[2] as well as for Cecil Sharp and Béla Bartók,[10] there was a sense of the music of the
country as distinct from that of the town. Folk music was already, "...seen as the authentic
expression of a way of life now past or about to disappear (or in some cases, to be preserved or
somehow revived),"[11] particularly in "a community uninfluenced by art music"[7] and by commercial
and printed song. Lloyd rejected this in favor of a simple distinction of economic class[10] yet for
him, true folk music was, in Charles Seeger's words, "associated with a lower class"[12] in culturally
and socially stratified societies. In these terms, folk music may be seen as part of a "schema
comprising four musical types: 'primitive' or 'tribal'; 'elite' or 'art'; 'folk'; and 'popular'."[13]

Music in this genre is also often called traditional music. Although the term is usually only
descriptive, in some cases people use it as the name of a genre. For example, the Grammy Award
previously used the terms "traditional music" and "traditional folk" for folk music that is not
contemporary folk music.[14] Folk music may include most indigenous music.[4]
Characteristics

Viljandi Folk Music Festival held

annually within the castle ruins in
Viljandi, Estonia.

From a historical perspective, traditional folk music had these characteristics:[12]

It was transmitted through an oral tradition. Before the 20th century, ordinary people were usually
illiterate; they acquired songs by memorizing them. Primarily, this was not mediated by books or
recorded or transmitted media. Singers may extend their repertoire using broadsheets or song
books, but these secondary enhancements are of the same character as the primary songs
experienced in the flesh.

The music was often related to national culture. It was culturally particular; from a particular
region or culture. In the context of an immigrant group, folk music acquires an extra dimension for
social cohesion. It is particularly conspicuous in immigrant societies, where Greek Australians,
Somali Americans, Punjabi Canadians, and others strive to emphasize their cultural identity. They
learn songs and dances that originate in the countries their grandparents came from.

They commemorate historical and personal events. On certain days of the year, including such
holidays as Christmas, Easter, and May Day, particular songs celebrate the yearly cycle. Birthdays,
weddings, and funerals may also be noted with songs, dances and special costumes. Religious
festivals often have a folk music component. Choral music at these events brings children and
non-professional singers to participate in a public arena, giving an emotional bonding that is
unrelated to the aesthetic qualities of the music.

The songs have been performed, by custom, over a long period of time, usually several
generations.

As a side-effect, the following characteristics are sometimes present:

There is no copyright on the songs. Hundreds of folk songs from the 19th century have known
authors but have continued in oral tradition to the point where they are considered traditional for
purposes of music publishing. This has become much less frequent since the 1940s. Today,
almost every folk song that is recorded is credited with an arranger.
 Fusion of cultures: Because cultures interact and change over time, traditional songs evolving
over time may incorporate and reflect influences from disparate cultures. The relevant factors
may include instrumentation, tunings, voicings, phrasing, subject matter, and even production
methods.

Tune

In folk music, a tune is a short instrumental piece, a melody, often with repeating sections, and
usually played a number of times.[15] A collection of tunes with structural similarities is known as a
tune-family. America's Musical Landscape says "the most common form for tunes in folk music is
AABB, also known as binary form."[16]

In some traditions, tunes may be strung together in medleys or "sets."[17]

Origins

Indians always distinguished between

classical and folk music, though in
the past even classical Indian music
used to rely on the unwritten
transmission of repertoire.

Indian Nepali folk musician Navneet

Aditya Waiba
Throughout most of human history, listening to recorded music was not possible.[18][19] Music was
made by common people during both their work and leisure, as well as during religious activities.
The work of economic production was often manual and communal.[20] Manual labor often included
singing by the workers, which served several practical purposes.[21] It reduced the boredom of
repetitive tasks, it kept the rhythm during synchronized pushes and pulls, and it set the pace of
many activities such as planting, weeding, reaping, threshing, weaving, and milling. In leisure time,
singing and playing musical instruments were common forms of entertainment and history-telling—
even more common than today when electrically enabled technologies and widespread literacy
make other forms of entertainment and information-sharing competitive.[22]

Some believe that folk music originated as art music that was changed and probably debased by
oral transmission while reflecting the character of the society that produced it.[2] In many societies,
especially preliterate ones, the cultural transmission of folk music requires learning by ear, although
notation has evolved in some cultures.[23] Different cultures may have different notions concerning a
division between "folk" music on the one hand and of "art" and "court" music on the other. In the
proliferation of popular music genres, some traditional folk music became also referred to as "World
music" or "Roots music".[24]

The English term "folklore", to describe traditional folk music and dance, entered the vocabulary of
many continental European nations, each of which had its folk-song collectors and revivalists.[2] The
distinction between "authentic" folk and national and popular song in general has always been
loose, particularly in America and Germany[2] – for example, popular songwriters such as Stephen
Foster could be termed "folk" in America.[2][25] The International Folk Music Council definition allows
that the term can also apply to music that, "...has originated with an individual composer and has
subsequently been absorbed into the unwritten, living tradition of a community. But the term does
not cover a song, dance, or tune that has been taken over ready-made and remains unchanged."[26]

The post–World War II folk revival in America and in Britain started a new genre, Contemporary Folk
Music, and brought an additional meaning to the term "folk music": newly composed songs, fixed in
form and by known authors, which imitated some form of traditional music. The popularity of
"contemporary folk" recordings caused the appearance of the category "Folk" in the Grammy Awards
of 1959;[27] in 1970 the term was dropped in favor of "Best Ethnic or Traditional Recording (including
Traditional Blues)",[28] while 1987 brought a distinction between "Best Traditional Folk Recording"
and "Best Contemporary Folk Recording".[29] After that, they had a "Traditional music" category that
subsequently evolved into others. The term "folk", by the start of the 21st century, could cover
singer-songwriters, such as Donovan[30] from Scotland and American Bob Dylan,[31] who emerged in
the 1960s and much more. This completed a process to where "folk music" no longer meant only
traditional folk music.[6]
Subject matter

Armenian traditional musicians

Assyrian folk music

Assyrians playing a zurna
and a davul, instruments
typically used for Assyrian
folk music and dance.

Traditional folk music often includes sung words, although folk instrumental music occurs
commonly in dance music traditions. Narrative verse looms large in the traditional folk music of
many cultures.[32][33] This encompasses such forms as traditional epic poetry, much of which was
meant originally for oral performance, sometimes accompanied by instruments.[34][35] Many epic
poems of various cultures were pieced together from shorter pieces of traditional narrative verse,
which explains their episodic structure, repetitive elements, and their frequent in medias res plot
developments. Other forms of traditional narrative verse relate the outcomes of battles or lament
tragedies or natural disasters.[36]

Sometimes, as in the triumphant Song of Deborah[37] found in the Biblical Book of Judges, these
songs celebrate victory. Laments for lost battles and wars, and the lives lost in them, are equally
prominent in many traditions; these laments keep alive the cause for which the battle was
fought.[38][39] The narratives of traditional songs often also remember folk heroes such as John
Henry[40][41] or Robin Hood.[42] Some traditional song narratives recall supernatural events or
mysterious deaths.[43]

Hymns and other forms of religious music are often of traditional and unknown origin.[44] Western
musical notation was originally created to preserve the lines of Gregorian chant, which before its
invention was taught as an oral tradition in monastic communities.[45][46] Traditional songs such as
Green grow the rushes, O present religious lore in a mnemonic form, as do Western Christmas carols
and similar traditional songs.[47]
Work songs frequently feature call and response structures and are designed to enable the laborers
who sing them to coordinate their efforts in accordance with the rhythms of the songs.[48] They are
frequently, but not invariably, composed. In the American armed forces, a lively oral tradition
preserves jody calls ("Duckworth chants") which are sung while soldiers are on the march.[49]
Professional sailors made similar use of a large body of sea shanties.[50][51] Love poetry, often of a
tragic or regretful nature, prominently figures in many folk traditions.[52] Nursery rhymes, children's
songs and nonsense verse used to amuse or quiet children also are frequent subjects of traditional
songs.[53]

Folk song transformations and variations

Korean traditional musicians

Music transmitted by word of mouth through a community, in time, develops many variants, since
this transmission cannot produce word-for-word and note-for-note accuracy. In addition, folk singers
may choose to modify the songs they hear.

For example, around 1970 the song Mullā Mohammed Jān spread from Herat to the rest of
Afghanistan, and Iran where it was recorded. Due to its repetitive refrain and the predictability of the
second half of each verse, it allowed for both its popularization, and for each singer to create their
own version of the song without being overly-concerned for a melody or restrictive poetic rhythm.[54]

Because variants proliferate naturally, there is generally no "authoritative" version of song.

Researchers in traditional songs have encountered countless versions of the Barbara Allen ballad
throughout the English-speaking world, and these versions often differ greatly from each other. The
original is not known; many versions can lay an equal claim to authenticity.

Influential folklorist Cecil Sharp felt that these competing variants of a traditional song would
undergo a process of improvement akin to biological natural selection: only those new variants that
were the most appealing to ordinary singers would be picked up by others and transmitted onward
in time. Thus, over time we would expect each traditional song to become more aesthetically
appealing, due to incremental community improvement.
Literary interest in the popular ballad form dates back at least to Thomas Percy and William
Wordsworth. English Elizabethan and Stuart composers had often evolved their music from folk
themes, the classical suite was based upon stylised folk-dances, and Joseph Haydn's use of folk
melodies is noted. But the emergence of the term "folk" coincided with an "outburst of national
feeling all over Europe" that was particularly strong at the edges of Europe, where national identity
was most asserted. Nationalist composers emerged in Central Europe, Russia, Scandinavia, Spain
and Britain: the music of Dvořák, Smetana, Grieg, Rimsky-Korsakov, Brahms, Liszt, de Falla, Wagner,
Sibelius, Vaughan Williams, Bartók, and many others drew upon folk melodies.

Regional forms

Naxi traditional musicians

The Steinegger brothers, traditional

fifers of Grundlsee, Styria, 1880

While the loss of traditional folk music in the face of the rise of popular music is a worldwide
phenomenon,[55] it is not one occurring at a uniform rate throughout the world.[56] The process is
most advanced "where industrialization and commercialisation of culture are most advanced"[57]
but also occurs more gradually even in settings of lower technological advancement. However, the
loss of traditional music is slowed in nations or regions where traditional folk music is a badge of
cultural or national identity.

Early folk music, fieldwork and scholarship

Much of what is known about folk music prior to the development of audio recording technology in
the 19th century comes from fieldwork and writings of scholars, collectors and proponents.[58]

19th-century Europe

Starting in the 19th century, academics and amateur scholars, taking note of the musical traditions
being lost, initiated various efforts to preserve the music of the people.[59] One such effort was the
collection by Francis James Child in the late 19th century of the texts of over three hundred ballads
in the English and Scots traditions (called the Child Ballads), some of which predated the 16th
century.[9]

Contemporaneously with Child, the Reverend Sabine Baring-Gould and later Cecil Sharp worked to
preserve a great body of English rural traditional song, music and dance, under the aegis of what
became and remains the English Folk Dance and Song Society (EFDSS).[60] Sharp campaigned with
some success to have English traditional songs (in his own heavily edited and expurgated versions)
to be taught to school children in hopes of reviving and prolonging the popularity of those
songs.[61][62] Throughout the 1960s and early to mid-1970s, American scholar Bertrand Harris
Bronson published an exhaustive four-volume collection of the then-known variations of both the
texts and tunes associated with what came to be known as the Child Canon.[63] He also advanced
some significant theories concerning the workings of oral-aural tradition.[64]

Similar activity was also under way in other countries. One of the most extensive was perhaps the
work done in Riga by Krisjanis Barons, who between the years 1894 and 1915 published six volumes
that included the texts of 217,996 Latvian folk songs, the Latvju dainas.[65] In Norway the work of
collectors such as Ludvig Mathias Lindeman was extensively used by Edvard Grieg in his Lyric
Pieces for piano and in other works, which became immensely popular.[66]

Around this time, composers of classical music developed a strong interest in collecting traditional
songs, and a number of composers carried out their own field work on traditional music. These
included Percy Grainger[67] and Ralph Vaughan Williams[68] in England and Béla Bartók[69] in
Hungary. These composers, like many of their predecessors, both made arrangements of folk songs
and incorporated traditional material into original classical compositions.[70][71]
North America

Locations in Southern and Central Appalachia visited by the

British folklorist Cecil Sharp in 1916 (blue), 1917 (green), and
1918 (red). Sharp sought "old world" English and Scottish
ballads passed down to the region's inhabitants from their
British ancestors. He collected hundreds of such ballads, the
most productive areas being the Blue Ridge Mountains of
North Carolina and the Cumberland Mountains of Kentucky.

The advent of audio recording technology provided folklorists with a revolutionary tool to preserve
vanishing musical forms.[72] The earliest American folk music scholars were with the American
Folklore Society (AFS), which emerged in the late 1800s.[73] Their studies expanded to include
Native American music, but still treated folk music as a historical item preserved in isolated
societies as well.[74] In North America, during the 1930s and 1940s, the Library of Congress worked
through the offices of traditional music collectors Robert Winslow Gordon,[75] Alan Lomax[76][77][78]
and others to capture as much North American field material as possible.[79] John Lomax (the father
of Alan Lomax) was the first prominent scholar to study distinctly American folk music such as that
of cowboys and southern blacks. His first major published work was in 1911, Cowboy Songs and
Other Frontier Ballads.[80] and was arguably the most prominent US folk music scholar of his time,
notably during the beginnings of the folk music revival in the 1930s and early 1940s. Cecil Sharp
also worked in America, recording the traditional songs of the Appalachian Mountains in 1916–
1918 in collaboration with Maud Karpeles and Olive Dame Campbell and is considered the first
major scholar covering American folk music.[81] Campbell and Sharp are represented under other
names by actors in the modern movie Songcatcher.[82]

One strong theme amongst folk scholars in the early decades of the 20th century was
regionalism,[83] the analysis of the diversity of folk music (and related cultures) based on regions of
the US rather than based on a given song's historical roots.[84][85] Later, a dynamic of class and
circumstances was added to this.[86] The most prominent regionalists were literary figures with a
particular interest in folklore.[87][88] Carl Sandburg often traveled the U.S. as a writer and a poet.[89]
He also collected songs in his travels and, in 1927, published them in the book The American
Songbag.[90] Rachel Donaldson, a historian who worked for Vanderbilt, later stated this about The
American Songbird in her analysis of the folk music revival. "In his collections of folk songs,
Sandburg added a class dynamic to popular understandings of American folk music. This was the
final element of the foundation upon which the early folk music revivalists constructed their own
view of Americanism. Sandburg's working-class Americans joined with the ethnically, racially, and
regionally diverse citizens that other scholars, public intellectuals, and folklorists celebrated their
own definitions of the American folk, definitions that the folk revivalists used in constructing their
own understanding of American folk music, and an overarching American identity".[91]

Prior to the 1930s, the study of folk music was primarily the province of scholars and collectors. The
1930s saw the beginnings of larger scale themes, commonalities, and linkages in folk music
developing in the populace and practitioners as well, often related to the Great Depression.[92]
Regionalism and cultural pluralism grew as influences and themes. During this time folk music
began to become enmeshed with political and social activism themes and movements.[92] Two
related developments were the U.S. Communist Party's interest in folk music as a way to reach and
influence Americans,[93] and politically active prominent folk musicians and scholars seeing
communism as a possible better system, through the lens of the Great Depression.[94] Woody
Guthrie exemplifies songwriters and artists with such an outlook.[95]

Folk music festivals proliferated during the 1930s.[96] President Franklin Roosevelt was a fan of folk
music, hosted folk concerts at the White House, and often patronized folk festivals.[97] One
prominent festival was Sarah Gertrude Knott's National Folk Festival, established in St. Louis,
Missouri in 1934.[98] Under the sponsorship of the Washington Post, the festival was held in
Washington, DC at Constitution Hall from 1937 to 1942.[99] The folk music movement, festivals, and
the wartime effort were seen as forces for social goods such as democracy, cultural pluralism, and
the removal of culture and race-based barriers.[100]

The American folk music revivalists of the 1930s Barbara Allen

approached folk music in different ways.[101] Three 2:40

primary schools of thought emerged: Barbara Allen, a traditional English

language folk ballad, sung by Hule
"Traditionalists" (e.g. Sarah Gertrude Knott and John "Queen" Hines of Florida to John
Lomax) emphasized the preservation of songs as Lomax in 1939

artifacts of deceased cultures. "Functional" Problems playing this file? See media help.
folklorists (e.g. Botkin and Alan Lomax) maintained
that songs only retain relevance when used by those cultures which retain the traditions which
birthed those songs. "Left-wing" folk revivalists (e.g. Charles Seeger and Lawrence Gellert)
emphasized music's role "in 'people's' struggles for social and political rights".[101] By the end of the
1930s these and others had turned American folk music into a social movement.[101]

Sometimes folk musicians became scholars and advocates themselves. For example, Jean Ritchie
(1922–2015) was the youngest child of a large family from Viper, Kentucky that had preserved many
of the old Appalachian traditional songs.[102] Ritchie, living in a time when the Appalachians had
opened up to outside influence, was university educated and ultimately moved to New York City,
where she made a number of classic recordings of the family repertoire and published an important
compilation of these songs.[103]

In January 2012, the American Folklife Center at the Library of Congress, with the Association for
Cultural Equity, announced that they would release Lomax's vast archive of 1946 and later recording
in digital form. Lomax spent the last 20 years of his life working on an Interactive Multimedia
educational computer project he called the Global Jukebox, which included 5,000 hours of sound
recordings, 400,000 feet of film, 3,000 videotapes, and 5,000 photographs.[104] As of March 2012,
this has been accomplished. Approximately 17,400 of Lomax's recordings from 1946 and later have
been made available free online.[105][106] This material from Alan Lomax's independent archive,
begun in 1946, which has been digitized and offered by the Association for Cultural Equity, is
"distinct from the thousands of earlier recordings on acetate and aluminum discs he made from
1933 to 1942 under the auspices of the Library of Congress. This earlier collection—which includes
the famous Jelly Roll Morton, Woody Guthrie, Lead Belly, and Muddy Waters sessions, as well as
Lomax's prodigious collections made in Haiti and Eastern Kentucky (1937) — is the provenance of
the American Folklife Center"[105] at the library of Congress.

National and regional forms

Africa

The African lamellophone, thumb

piano or mbira
Africa is a vast continent[107] and its regions and nations have distinct musical traditions.[108][109]
The music of North Africa for the most part has a different history from Sub-Saharan African music
traditions.[110]

The music and dance forms of the African diaspora, including African American music and many
Caribbean genres like soca, calypso and Zouk; and Latin American music genres like the samba,
Cuban rumba, salsa; and other clave (rhythm)-based genres, were founded to varying degrees on the
music of enslaved Africans, which has in turn influenced African popular music.[111][112]

Asia

Paban Das Baul, baul singer at Nine

Lives concert, 2009

Many Asian civilizations distinguish between art/court/classical styles and "folk" music.[113][114] For
example, the late Alam Lohar is an example of a South Asian singer who was classified as a folk
singer.[115]

Khunung Eshei/Khuland Eshei is an ancient folk song from India, a country of Asia, of Meiteis of
Manipur, that is an example of Asian folk music, and how they put it into its own genre.[116]

Folk music of China

Archaeological discoveries date Chinese folk music back 7000 years;[117] it is largely based on the
pentatonic scale.[118]

Han traditional weddings and funerals usually include a form of oboe called a suona,[119] and
apercussive ensembles called a chuigushou.[120] Ensembles consisting of mouth organs (sheng),
shawms (suona), flutes (dizi) and percussion instruments (especially yunluo gongs) are popular in
northern villages;[121] their music is descended from the imperial temple music of Beijing, Xi'an,
Wutai shan and Tianjin. Xi'an drum music, consisting of wind and percussive instruments,[122] is
popular around Xi'an, and has received some commercial popularity outside of China.[123] Another
important instrument is the sheng, a type of Chinese pipe, an ancient instrument that is ancestor of
all Western free reed instruments, such as the accordion.[124] Parades led by Western-type brass
bands are common, often competing in volume with a shawm/chuigushou band.
In southern Fujian and Taiwan, Nanyin or Nanguan is a genre of traditional ballads.[125] They are
sung by a woman accompanied by a xiao and a pipa, as well as other traditional instruments.[126]
The music is generally sorrowful and typically deals with love-stricken people.[127][128] Further south,
in Shantou, Hakka and Chaozhou, zheng ensembles are popular.[129] Sizhu ensembles use flutes and
bowed or plucked string instruments to make harmonious and melodious music that has become
popular in the West among some listeners.[130] These are popular in Nanjing and Hangzhou, as well
as elsewhere along the southern Yangtze area.[131] Jiangnan Sizhu (silk and bamboo music from
Jiangnan) is a style of instrumental music, often played by amateur musicians in tea houses in
Shanghai.[132] Guangdong Music or Cantonese Music is instrumental music from Guangzhou and
surrounding areas.[133] The music from this region influenced Yueju (Cantonese Opera) music,[134]
which would later grow popular during the self-described "Golden Age" of China under the PRC.[135]

Folk songs have been recorded since ancient times in China. The term Yuefu was used for a broad
range of songs such as ballads, laments, folk songs, love songs, and songs performed at court.[136]
China is a vast country, with a multiplicity of linguistic and geographic regions. Folk songs are
categorized by geographic region, language type, ethnicity, social function (e.g. work song, ritual
song, courting song) and musical type. Modern anthologies collected by Chinese folklorists
distinguish between traditional songs, revolutionary songs, and newly invented songs.[137] The
songs of northwest China are known as "flower songs" (hua'er), a reference to beautiful women,
while in the past they were notorious for their erotic content.[138] The village "mountain songs"
(shan'ge) of Jiangsu province were also well known for their amorous themes.[139][140] Other regional
song traditions include the "strummed lyrics" (tanci) of the Lower Yangtze Delta, the Cantonese
Wooden Fish tradition (muyu or muk-yu) and the Drum Songs (guci) of north China.[141]

In the twenty-first century many cherished Chinese folk songs have been inscribed in the UNESCO
Representative List of the Intangible Cultural Heritage of Humanity.[142] In the process, songs once
seen as vulgar are now being reconstructed as romantic courtship songs.[143] Regional song
competitions, popular in many communities, have promoted professional folk singing as a career,
with some individual folk singers having gained national prominence.[144]

Traditional folk music of Sri Lanka

The art, music and dance of Sri Lanka derive from the elements of nature, and have been enjoyed
and developed in the Buddhist environment.[145] The music is of several types and uses only a few
types of instruments.[146] The folk songs and poems were used in social gatherings to work
together. The Indian influenced classical music has grown to be unique.[147][148][149][150] The
traditional drama, music and songs of Sinhala Light Music are typically Sri Lankan.[151] The temple
paintings and carvings feature birds, elephants, wild animals, flowers, and trees, and the Traditional
18 Dances display the dancing of birds and animals.[152] For example:

Mayura Wannama – The dance of the peacock[153][154]

Hanuma Wannama – The dance of the monkey[155]

Gajaga Wannama – The dance of the elephant

Musical types include:

Local drama music includes Kolam[156] and Nadagam types.[157] Kolam music is based on low
country tunes primarily to accompany mask dance in exorcism rituals.[158][159] It is considered
less developed/evolved, true to the folk tradition and a preserving of a more ancient artform.[160] It
is limited to approximately 3–4 notes and is used by the ordinary people for pleasure and
entertainment.[161]

Nadagam music is a more developed form of drama influenced from South Indian street drama
which was introduced by some south Indian artists. Phillippu Singho from Negombo in 1824
performed "Harishchandra Nadagama" in Hnguranketha which was originally written in the
Telingu language. Later "Maname",[162] "Sanda kinduru"[163] and others were introduced. Don
Bastian of Dehiwala introduced Noorthy firstly by looking at Indian dramas and then John de Silva
developed it as did Ramayanaya in 1886.[164]

Sinhala light music is currently the most popular type of music in Sri Lanka and enriched with the
influence of folk music, kolam music, nadagam music, noorthy music, film music, classical music,
Western music, and others.[165] Some artists visited India to learn music and later started
introducing light music. Ananda Samarakone was the pioneer of this[166][167] and also composed
the national anthem.[168]

The classical Sinhalese orchestra consists of five categories of instruments, but among the
percussion instruments, the drum is essential for dance.[169] The vibrant beat of the rhythm of the
drums form the basic of the dance.[170] The dancers' feet bounce off the floor and they leap and
swirl in patterns that reflect the complex rhythms of the drum beat. This drum beat may seem
simple on the first hearing but it takes a long time to master the intricate rhythms and variations,
which the drummer sometimes can bring to a crescendo of intensity. There are six common types
of drums falling within 3 styles (one-faced, two-faced, and flat-faced):[171][172]

The typical Sinhala Dance is identified as the Kandyan dance and the Gatabera drum is
indispensable to this dance.[173]

Yak-bera is the demon drum or the drum used in low country dance in which the dancers wear
masks and perform devil dancing, which has become a highly developed form of art.[174]
 The Daula is a barrel-shaped drum, and it was used as a companion drum with a Thammattama in
the past, to keep strict time with the beat.[175]

The Thammattama is a flat, two-faced drum. The drummer strikes the drum on the two surfaces
on top with sticks, unlike the others where you drum on the sides. This is a companion drum to
the aforementioned Dawula.[176]

A small double-headed hand drum is used to accompany songs. It is primarily heard in the poetry
dances like vannam.

The Rabana is a flat-faced circular drum and comes in several sizes.[177] The large Rabana - called
the Banku Rabana - has to be placed on the floor like a circular short-legged table and several
people (traditionally women) can sit around it and beat on it with both hands.[178] This is used in
festivals such as the Sinhalese New Year and ceremonies such as weddings.[179] The resounding
beat of the Rabana symbolizes the joyous moods of the occasion. The small Rabana is a form of
mobile drum beat since the player carries it wherever the person goes.[180]

Other instruments include:

The Thalampata – 2 small cymbals joined by a string.[181]

The wind section, is dominated by an instrument akin to the clarinet. This is not normally used for
dances. This is important to note because the Sinhalese dance is not set to music as the western
world knows it; rhythm is king.

The flutes of metal such as silver & brass produce shrill music to accompany Kandyan Dances,
while the plaintive strains of music of the reed flute may pierce the air in devil-dancing. The conch-
shell (Hakgediya) is another form of a natural instrument, and the player blows it to announce the
opening of ceremonies of grandeur.[182]

The Ravanahatha (ravanhatta, rawanhattha, ravanastron or ravana hasta veena) is a bowed fiddle
that was once popular in Western India.[183][184] It is believed to have originated among the Hela
civilisation of Sri Lanka in the time of King Ravana.[185] The bowl is made of cut coconut shell, the
mouth of which is covered with goat hide. A dandi, made of bamboo, is attached to this shell.[185]
The principal strings are two: one of steel and the other of a set of horsehair. The long bow has
jingle bells[186][187]
Australia

Indigenous Australian music includes the music of Aboriginal Australians and Torres Strait
Islanders, who are collectively called Indigenous Australians;[188] it incorporates a variety of
distinctive traditional music styles practiced by Indigenous Australian peoples, as well as a range of
contemporary musical styles of and fusion with European traditions as interpreted and performed
by indigenous Australian artists.[189] Music has formed an integral part of the social, cultural and
ceremonial observances of these peoples, down through the millennia of their individual and
collective histories to the present day.[190][191] The traditional forms include many aspects of
performance and musical instruments unique to particular regions or Indigenous Australian
groups.[192] Equal elements of musical tradition are common through much of the Australian
continent, and even beyond.[193] The culture of the Torres Strait Islanders is related to that of
adjacent parts of New Guinea and so their music is also related. Music is a vital part of Indigenous
Australians' cultural maintenance.[194]

Folk song traditions were taken to Australia by early settlers from England, Scotland and Ireland and
gained particular foothold in the rural outback.[195][196] The rhyming songs, poems and tales written
in the form of bush ballads often relate to the itinerant and rebellious spirit of Australia in The Bush,
and the authors and performers are often referred to as bush bards.[197] The 19th century was the
golden age of bush ballads.[198] Several collectors have catalogued the songs including John
Meredith whose recording in the 1950s became the basis of the collection in the National Library of
Australia.[197]

The songs tell personal stories of life in the wide open country of Australia.[199][200] Typical subjects
include mining, raising and droving cattle, sheep shearing, wanderings, war stories, the 1891
Australian shearers' strike, class conflicts between the landless working class and the squatters
(landowners), and outlaws such as Ned Kelly, as well as love interests and more modern fare such
as trucking.[201] The most famous bush ballad is "Waltzing Matilda", which has been called "the
unofficial national anthem of Australia".[202]

Europe

Battlefield Band performing in Freiburg in 2012

Celtic traditional music

Celtic music is a term used by artists, record companies, music stores and music magazines to
describe a broad grouping of musical genres that evolved out of the folk musical traditions of the
Celtic peoples.[203] These traditions include Irish, Scottish, Manx, Cornish, Welsh, and Breton
traditions.[204] Asturian and Galician music is often included, though there is no significant research
showing that this has any close musical relationship.[205][206] Brittany's Folk revival began in the
1950s with the "bagadoù" and the "kan-ha-diskan" before growing to world fame through Alan
Stivell's work since the mid-1960s.[207]

In Ireland, The Clancy Brothers and Tommy Makem (although its members were all Irish-born, the
group became famous while based in New York's Greenwich Village[208]), The Dubliners,[209]
Clannad,[210] Planxty,[211] The Chieftains,[212][213] The Pogues,[214] The Corrs,[215] The Irish Rovers,[216]
and a variety of other folk bands have done much over the past few decades to revitalise and re-
popularise Irish traditional music.[217] These bands were rooted, to a greater or lesser extent, in a
tradition of Irish music and benefited from the efforts of artists such as Seamus Ennis and Peter
Kennedy.[207]

In Scotland, The Corries,[218] Silly Wizard,[219][220] Capercaillie,[221] Runrig,[222] Jackie Leven,[223] Julie
Fowlis,[224] Karine Polwart,[225] Alasdair Roberts,[226][227] Dick Gaughan,[228] Wolfstone,[229] Boys of
the Lough,[230] and The Silencers[231] have kept Scottish folk vibrant and fresh by mixing traditional
Scottish and Gaelic folk songs with more contemporary genres.[232] These artists have also been
commercially successful in continental Europe and North America.[233] There is an emerging wealth
of talent in the Scottish traditional music scene, with bands such as Mànran,[234] Skipinnish,[235]
Barluath[236] and Breabach[237] and solo artists such as Patsy Reid,[238] Robyn Stapleton[239] and
Mischa MacPherson[240] gaining a lot of success in recent years.[241]

Central and Eastern Europe

During the Eastern Bloc era, national folk dancing was actively promoted by the state.[242] Dance
troupes from Russia and Poland toured non-communist Europe from about 1937 to 1990.[243] The
Red Army Choir recorded many albums, becoming the most popular military band.[244] Eastern
Europe is also the origin of the Jewish Klezmer tradition.[245]

2:04

Ľubomír Párička playing bagpipes,

Slovakia
The polka is a central European dance and also a genre of dance music familiar throughout Europe
and the Americas. It originated in the middle of the 19th century in Bohemia.[246] Polka is still a
popular genre of folk music in many European countries and is performed by folk artists in Poland,
Latvia, Lithuania, Czech Republic, Netherlands, Croatia, Slovenia, Germany, Hungary, Austria,
Switzerland, Italy, Ukraine, Belarus, Russia and Slovakia.[247] Local varieties of this dance are also
found in the Nordic countries, United Kingdom, Republic of Ireland, Latin America (especially
Mexico), and in the United States.

German Volkslieder perpetuated by Liederhandschriften manuscripts like Carmina Burana[248] date

back to medieval Minnesang and Meistersinger traditions.[249] Those folk songs revived in the late
18th century period of German Romanticism,[250] first promoted by Johann Gottfried Herder[251][252]
and other advocates of the Enlightenment,[253] later compiled by Achim von Arnim[254] and Clemens
Brentano (Des Knaben Wunderhorn)[255] as well as by Ludwig Uhland.[256]

The Volksmusik and folk dances genre, especially in the Alpine regions of Bavaria, Austria,
Switzerland (Kuhreihen) and South Tyrol, up to today has lingered in rustic communities against the
backdrop of industrialisation[257]—Low German shanties or the Wienerlied[258] (Schrammelmusik)
being notable exceptions. Slovene folk music in Upper Carniola and Styria also originated from the
Alpine traditions, like the prolific Lojze Slak Ensemble.[259] Traditional Volksmusik is not to be
confused with commercial Volkstümliche Musik, which is a derivation of that.[260]

The Hungarian group Muzsikás played numerous American tours[261] and participated in the
Hollywood movie The English Patient[262] while the singer Márta Sebestyén worked with the band
Deep Forest.[263] The Hungarian táncház movement, started in the 1970s, involves strong
cooperation between musicology experts and enthusiastic amateurs.[264] However, traditional
Hungarian folk music and folk culture barely survived in some rural areas of Hungary, and it has also
begun to disappear among the ethnic Hungarians in Transylvania. The táncház movement revived
broader folk traditions of music, dance, and costume together and created a new kind of music
club.[265] The movement spread to ethnic Hungarian communities elsewhere in the world.[265]

Balkan music

The Mystery of the Bulgarian Voices

Balkan folk music was influenced by the mingling of Balkan ethnic groups in the period of the
Ottoman Empire.[266] It comprises the music of Bosnia and Herzegovina, Bulgaria, Croatia, Greece,
Montenegro, Serbia, Romania, North Macedonia, Albania, some of the historical states of
Yugoslavia or Serbia and Montenegro and geographical regions such as Thrace.[267] Some music is
characterised by complex rhythm.[268]

A notable act is the Mystery of the Bulgarian Voices, which won the Grammy Award for Best
Traditional Folk Recording at the 32nd annual ceremony.[269][270]

An important part of the whole Balkan folk music is the music of the local Romani ethnic minority,
which is called tallava and brass band music.[271][272]

Nordic folk music

Latvian men's folk ensemble Vilki,

performing at the festival of Baltic
crafts and warfare Apuolė 854 in
Apuolė, August 2009

Nordic folk music includes a number of traditions in Northern European, especially Scandinavian,
countries. The Nordic countries are generally taken to include Iceland, Norway, Finland, Sweden,
Denmark and Greenland.[273] Sometimes it is taken to include the Baltic countries of Estonia, Latvia
and Lithuania.[274]

Maria Gasolina performing at 2008

Faces Festival in Raseborg, Finland

The many regions of the Nordic countries share certain traditions, many of which have diverged
significantly, like Psalmodicon of Denmark, Sweden, and Norway.[275] It is possible to group together
the Baltic states (or, sometimes, only Estonia) and parts of northwest Russia as sharing cultural
similarities,[276] although the relationship has gone cold in recent years.[277] Contrast with Norway,
Sweden, Denmark and the Atlantic islands of Iceland and the Faroe Islands, which share virtually no
similarities of that kind. Greenland's Inuit culture has its own unique musical traditions.[278] Finland
shares many cultural similarities with both the Baltic nations and the Scandinavian nations. The
Sami of Sweden, Norway, Finland and Russia have their own unique culture, with ties to the
neighboring cultures.[279]

Swedish folk music is a genre of music based largely on folkloric collection work that began in the
early 19th century in Sweden.[280] The primary instrument of Swedish folk music is the fiddle.[281]
Another common instrument, unique to Swedish traditions, is the nyckelharpa.[282] Most Swedish
instrumental folk music is dance music; the signature music and dance form within Swedish folk
music is the polska.[283] Vocal and instrumental traditions in Sweden have tended to share tunes
historically, though they have been performed separately.[284] Beginning with the folk music revival
of the 1970s, vocalists and instrumentalists have also begun to perform together in folk music
ensembles.

Latin America

The folk music of the Americas consists of the encounter and union of three main musical types:
European traditional music, traditional music of the American natives, and tribal African music that
arrived with slaves from that continent.

The particular case of Latin and South American music points to Andean music[285] among other
native musical styles (such as Caribbean[286] and pampean), Iberian music of Spain and Portugal,
and generally speaking African tribal music, the three of which fused together evolving in
differentiated musical forms in Central and South America.

Andean music comes from the region of the Quechuas, Aymaras, and other peoples that inhabit the
general area of the Inca Empire prior to European contact.[287] It includes folklore music of parts of
Bolivia, Ecuador,[288] Chile, Colombia, Peru and Venezuela. Andean music is popular to different
degrees across Latin America, having its core public in rural areas and among indigenous
populations. The Nueva Canción movement of the 1970s revived the genre across Latin America
and brought it to places where it was unknown or forgotten.

Nueva canción (Spanish for 'new song') is a movement and genre within Latin American and Iberian
folk music, folk-inspired music, and socially committed music. In some respects its development
and role is similar to the second folk music revival in North America. This includes evolution of this
new genre from traditional folk music, essentially contemporary folk music except that that English
genre term is not commonly applied to it. Nueva cancion is recognized as having played a powerful
role in the social upheavals in Portugal, Spain and Latin America during the 1970s and 1980s.

Nueva cancion first surfaced during the 1960s as "The Chilean New Song" in Chile. The musical
style emerged shortly afterwards in Spain and areas of Latin America where it came to be known
under similar names. Nueva canción renewed traditional Latin American folk music, and with its
political lyrics it was soon associated with revolutionary movements, the Latin American New Left,
Liberation Theology, hippie and human rights movements. It would gain great popularity throughout
Latin America, and it is regarded as a precursor to Rock en español.

Cueca is a family of musical styles and associated dances from Chile, Bolivia and Peru.

Trova and Son are styles of traditional Cuban music originating in the province of Oriente that
includes influences from Spanish song and dance, such as Bolero and contradanza as well as Afro-
Cuban rhythm and percussion elements.

Moda de viola is the name designated to Brazilian folk music. It is often performed with a 6-string
nylon acoustic guitar, but the most traditional instrument is the viola caipira. The songs basically
detailed the difficulties of life of those who work in the country. The themes are usually associated
with the land, animals, folklore, impossible love and separation. Although there are some upbeat
songs, most of them are nostalgic and melancholic.

North America

Canada

French-Canadian lumberjacks playing

the fiddle, with sticks for percussion,
in a lumber camp in 1943.

Canada's traditional folk music is particularly diverse.[289] Even prior to liberalizing its immigration
laws in the 1960s, Canada was ethnically diverse with dozens of different Indigenous and European
groups present. In terms of music, academics do not speak of a Canadian tradition, but rather
ethnic traditions (Acadian music, Irish-Canadian music, Blackfoot music, Innu music, Inuit music,
Métis fiddle, etc.) and later in Eastern Canada regional traditions (Newfoundland music, Cape Breton
fiddling, Quebecois music, etc.)

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

The fur trade and its voyageurs brought this farther north and west into Canada;
later lumbering operations and lumberjacks continued this process.

Agrarian settlement in eastern and southern Ontario and western Quebec in the
early 19th century established a favorable milieu for the survival of many Anglo-
Canadian folksongs and broadside ballads from Great Britain and the US. Despite
massive industrialization, folk music traditions have persisted in many areas until
today. In the north of Ontario, a large Franco-Ontarian population kept folk music of
French origin alive.

Populous Acadian communities in the Atlantic provinces contributed their song

variants to the huge corpus of folk music of French origin centred in the province of
Quebec. A rich source of Anglo-Canadian folk music can be found in the Atlantic
region, especially Newfoundland. Completing this mosaic of musical folklore is the
Gaelic music of Scottish settlements, particularly in Cape Breton, and the hundreds
of Irish songs whose presence in eastern Canada dates from the Irish famine of the
1840s, which forced the large migrations of Irish to North America.[289]

"Knowledge of the history of Canada", wrote Isabelle Mills in 1974, "is essential in understanding the
mosaic of Canadian folk song. Part of this mosaic is supplied by the folk songs of Canada brought
by European and Anglo-Saxon settlers to the new land."[12] She describes how the French colony at
Québec brought French immigrants, followed before long by waves of immigrants from Great
Britain, Germany, and other European countries, all bringing music from their homelands, some of
which survives into the present day. Ethnographer and folklorist Marius Barbeau estimated that well
over ten thousand French folk songs and their variants had been collected in Canada. Many of the
older ones had by then died out in France.
Music as professionalized paid entertainment grew relatively slowly in Canada, especially remote
rural areas, through the 19th and early 20th centuries. While in urban music clubs of the dance
hall/vaudeville variety became popular, followed by jazz, rural Canada remained mostly a land of
traditional music. Yet when American radio networks began broadcasting into Canada in the 1920s
and 1930s, the audience for Canadian traditional music progressively declined in favour of
American Nashville-style country music and urban styles like jazz. The Americanization of Canadian
music led the Canadian Radio League to lobby for a national public broadcaster in the 1930s,
eventually leading to the creation of the Canadian Broadcasting Corporation (CBC) in 1936. The CBC
promoted Canadian music, including traditional music, on its radio and later television services, but
the mid-century craze for all things "modern" led to the decline of folk music relative to rock and
pop. Canada was however influenced by the folk music revival of the 1960s, when local venues such
as the Montreal Folk Workshop, and other folk clubs and coffee houses across the country, became
crucibles for emerging songwriters and performers as well as for interchange with artists visiting
from abroad.

United States

American traditional music is also called roots music. Roots music is a broad category of music
including bluegrass, country music, gospel, old time music, jug bands, Appalachian folk, blues, Cajun
and Native American music. The music is considered American either because it is native to the
United States or because it developed there, out of foreign origins, to such a degree that it struck
musicologists as something distinctly new. It is considered "roots music" because it served as the
basis of music later developed in the United States, including rock and roll, contemporary folk
music, rhythm and blues, and jazz. Some of these genres are considered to be traditional folk
music.

Cajun music, an emblematic music of Louisiana, is rooted in the ballads of the French-speaking
Acadians of Canada. Cajun music is often mentioned in tandem with the Creole-based, Cajun-
influenced zydeco form, both of Acadiana origin. These French Louisiana sounds have influenced
American popular music for many decades, especially country music, and have influenced pop
culture through mass media, such as television commercials.

Appalachian music is the traditional music of the region of Appalachia in the Eastern United
States. It derives from various European and African influences, including English ballads, Irish
and Scottish traditional music (especially fiddle music), hymns, and African-American blues. First
recorded in the 1920s, Appalachian musicians were a key influence on the early development of
Old-time music, country music, and bluegrass, and were an important part of the American folk
music revival. Instruments typically used to perform Appalachian music include the banjo,
American fiddle, fretted dulcimer, and guitar.[290] Early recorded Appalachian musicians include
Fiddlin' John Carson, Henry Whitter, Bascom Lamar Lunsford, the Carter Family, Clarence Ashley,
Frank Proffitt, and Dock Boggs, all of whom were initially recorded in the 1920s and 1930s.
Several Appalachian musicians obtained renown during the folk revival of the 1950s and 1960s,
including Jean Ritchie, Roscoe Holcomb, Ola Belle Reed, Lily May Ledford, and Doc Watson.
Country and bluegrass artists such as Loretta Lynn, Roy Acuff, Dolly Parton, Earl Scruggs, Chet
Atkins, and Don Reno were heavily influenced by traditional Appalachian music.[290] Artists such
as Bob Dylan, Dave Van Ronk, Jerry Garcia, and Bruce Springsteen have performed Appalachian
songs or rewritten versions of Appalachian songs.

The Carter Family was a traditional American folk music group that recorded between 1927 and
1956. Their music had a profound impact on bluegrass, country, Southern gospel, pop and rock
musicians. They were the first vocal group to become country music stars; a beginning of the
divergence of country music from traditional folk music. Their recordings of such songs as
"Wabash Cannonball" (1932), "Will the Circle Be Unbroken" (1935), "Wildwood Flower" (1928), and
"Keep On the Sunny Side" (1928) made them country standards.[291]

Oklahoma and southern US plains: Before recorded history American Indians in this area used
songs and instrumentation; music and dance remain the core of ceremonial and social
activities.[292] "Stomp dance" remains at its core, a call and response form; instrumentation is
provided by rattles or shackles worn on the legs of women.[292] "Other southeastern nations have
their own complexes of sacred and social songs, including those for animal dances and
friendship dances, and songs that accompany stickball games. Central to the music of the
southern Plains Indians is the drum, which has been called the heartbeat of Plains Indian music.
Most of that genre can be traced back to activities of hunting and warfare, upon which plains
culture was based."[292] The drum is central to the music of the southern plains Indians. During the
reservation period, they used music to relieve boredom. Neighbors gathered, exchanged and
created songs and dances; this is a part of the roots of the modern intertribal powwow. Another
common instrument is the courting flute.[292]

African-American folk music in the area has roots in slavery and emancipation. Sacred music—a
capella and instrumentally-accompanied—is at the heart of the tradition. Early spirituals framed
Christian beliefs within native practices and were heavily influenced by the music and rhythms of
Africa."[292] Spirituals are prominent, and often use a call and response pattern.[292] "Gospel
developed after the Civil War (1861–1865). It relied on biblical text for much of its direction, and
the use of metaphors and imagery was common. Gospel is a "joyful noise", sometimes
accompanied by instrumentation and almost always punctuated by hand clapping, toe tapping,
and body movement."[292] "Shape-note or Sacred Harp singing developed in the early 19th century
as a way for itinerant singing instructors to teach church songs in rural communities. They taught
using song books in which musical notations of tones were represented by geometric shapes that
 were designed to associate a shape with its pitch. Sacred harp singing became popular in many
Oklahoma rural communities, regardless of ethnicity."[292] Later the blues tradition developed, with
roots in and parallels to sacred music.[292] Then jazz developed, born from a "blend of ragtime,
gospel, and blues"[292]

Anglo-Scots-Irish music traditions gained a place in Oklahoma after the Land Run of 1889.
Because of its size and portability, the fiddle was the core of early Oklahoma Anglo music, but
other instruments such as the guitar, mandolin, banjo, and steel guitar were added later. Various
Oklahoma music traditions trace their roots to the British Isles, including cowboy ballads, western
swing, and contemporary country and western."[292] Mexican immigrants began to reach
Oklahoma in the 1870s, bringing beautiful canciones and corridos love songs, waltzes, and
ballads along with them. Like American Indian communities, each rite of passage in Hispanic
communities is accompanied by traditional music. The acoustic guitar, string bass, and violin
provide the basic instrumentation for Mexican music, with maracas, flute, horns, or sometimes
accordion filling out the sound.[292] Other Europeans (such as Bohemians and Germans) settled in
the late 19th century. Their social activities centered on community halls, "where local musicians
played polkas and waltzes on the accordion, piano, and brass instruments".[292] Later, Asians
contributed to the musical mix. "Ancient music and dance traditions from the temples and courts
of China, India, and Indonesia are preserved in Asian communities throughout the state, and
popular song genres are continually layered on to these classical music forms"[292]

Folk music revivals

"Folk music revival" refers to either a period of renewed interest in traditional

"It's self-
folk music, or to an event or period which transforms it; the latter usually
perpetuating,
includes a social activism component. A prominent example of the former is
regenerative. It's
the British folk revival of approximately 1890–1920. The most prominent and
what you'd call a
influential example of the latter (to the extent that it is usually called "the folk
music revival") is the folk revival of the mid 20th century, centered in the perennial
American song.
English-speaking world which gave birth to contemporary folk music.[294] See
I don't think it
the "Contemporary folk music" article for a description of this revival.
needs a revival,
One earlier revival influenced western classical music. Such composers as resuscitation. It
Percy Grainger, Ralph Vaughan Williams, and Béla Bartók made field lives and
recordings or transcriptions of folk singers and musicians. flourishes. It
really just needs
In Spain, Isaac Albéniz (1860–1909) produced piano works reflect his
people who are
Spanish heritage, including the Suite Iberia (1906–1909). Enrique Granados
18 years old to
(1867–1918) composed zarzuela, Spanish light opera, and Danzas Españolas get exposed to
– Spanish Dances. Manuel de Falla (1876–1946) became interested in the it. But it will go
cante jondo of Andalusian flamenco, the influence of which can be strongly on with or
felt in many of his works, which include Nights in the Gardens of Spain and without them.
Siete canciones populares españolas ("Seven Spanish Folksongs", for voice The folk song is
and piano). Composers such as Fernando Sor and Francisco Tarrega more powerful
established the guitar as Spain's national instrument. Modern Spanish folk than anything on
artists abound (Mil i Maria, Russian Red, et al.) modernizing while respecting the radio, than
the traditions of their forebears. anything that's
released...It's
Flamenco grew in popularity through the 20th century, as did northern styles
that distillation
such as the Celtic music of Galicia. French classical composers, from Bizet
of the voices
to Ravel, also drew upon Spanish themes, and distinctive Spanish genres
that goes on for
became universally recognized.
a long, long

Folk music revivals or roots revivals also encompass a range of phenomena time, and that's

around the world where there is a renewed interest in traditional music. This what makes

is often by the young, often in the traditional music of their own country, and them

often included new incorporation of social awareness, causes, and strong."[293]

evolutions of new music in the same style. Nueva canción, a similar evolution
— Ketch Secor
of a new form of socially committed music occurred in several Spanish-
speaking countries.

Contemporary folk music

Festivals

United States

It is sometimes claimed that the earliest United States folk music festival was the Mountain Dance
and Folk Festival,[295][296] 1928, in Asheville, North Carolina, founded by Bascom Lamar
Lunsford.[297] The National Folk Festival (USA) is an itinerant folk festival in the United States.[298]
Since 1934, it has been run by the National Council for the Traditional Arts (NCTA) and has been
presented in 26 communities around the nation.[299] After leaving some of these communities, the
National Folk Festival has spun off several locally run folk festivals in its wake including the Lowell
Folk Festival,[300] the Richmond Folk Festival,[301] the American Folk Festival[302] and, most recently,
the Montana Folk Festival.[303]
The Newport Folk Festival is an annual folk festival held near Newport, Rhode Island.[304] It ran most
years from 1959 to 1970 and from 1985 to the present, with an attendance of approximately 10,000
people each year.[305]

The four-day Philadelphia Folk Festival began in 1962.[306] It is sponsored by the non-profit
Philadelphia Folksong Society.[307] The event hosts contemporary and traditional artists in genres
including World/Fusion, Celtic, Singer-Songwriter, Folk Rock, Country, Klezmer, and Dance.[308][309] It
is held annually on the third weekend in August.[310] The event now hosts approximately 12,000
visitors, presenting bands on 6 stages.[311]

The Feast of the Hunters' Moon in Indiana draws approximately 60,000 visitors per year.[312]

United Kingdom

Sidmouth Festival began in 1954,[313] and Cambridge Folk Festival began in 1965.[314] The
Cambridge Folk Festival in Cambridge, England is noted for having a very wide definition of who can
be invited as folk musicians.[315] The "club tents" allow attendees to discover large numbers of
unknown artists, who, for ten or 15 minutes each, present their work to the festival audience.[316]

Australia

The National Folk Festival is Australia's premier folk festival event and is attended by over 50,000
people.[317][318] The Woodford Folk Festival and Port Fairy Folk Festival are similarly amongst
Australia's largest major annual events, attracting top international folk performers as well as many
local artists.[319][320]

Canada

Stan Rogers is a lasting fixture of the Canadian folk festival Summerfolk, held annually in Owen
Sound, Ontario, where the main stage and amphitheater are dedicated as the "Stan Rogers Memorial
Canopy".[321] The festival is firmly fixed in tradition, with Rogers' song "The Mary Ellen Carter" being
sung by all involved, including the audience and a medley of acts at the festival.[322][323] The
Canmore Folk Music Festival is Alberta's longest running folk music festival.[324]
Other

Urkult Näsåker, Ångermanland held August each year is purportedly Sweden's largest world-music
festival.[325]

See also

Contemporary folk music

Music portal
Anthology of American Folk Music

Canadian Folk Music Awards

Country music

Folk process

List of classical and art music traditions

List of folk festivals

Roud Folk Song Index

The Voice of the People anthology of UK folk songs

References

Citations

1. Ruehl, Kim. "Folk Music" (https://web.archive.org/web/20161122200209/http://folkmusic.abou

t.com/od/glossary/g/FolkMusic.htm) . About.com definition. Archived from the original (htt
p://folkmusic.about.com/od/glossary/g/FolkMusic.htm) on November 22, 2016. Retrieved
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Further reading

(does not include those used as references)

Bayard, Samuel P. (1950). "Prolegomena to a Study of the Principal Melodic Families of British-
American Folk Song". The Journal of American Folklore. 63 (247): 1–44. doi:10.2307/537347 (http
s://doi.org/10.2307%2F537347) . JSTOR 537347 (https://www.jstor.org/stable/537347) .
Reprinted in McAllester, David Park (ed.) (1971) Readings in ethnomusicology New York: Johnson
Reprint. OCLC 2780256 (https://www.worldcat.org/oclc/2780256)

Bearman, C. J. (2000). "Who Were the Folk? The Demography of Cecil Sharp's Somerset Folk
Singers". The Historical Journal. 43 (3): 751–75. doi:10.1017/s0018246x99001338 (https://doi.or
g/10.1017%2Fs0018246x99001338) . JSTOR 3020977 (https://www.jstor.org/stable/302097
7) . S2CID 162191258 (https://api.semanticscholar.org/CorpusID:162191258) .

Bevil, Jack Marshall (1984). Centonization and Concordance in the American Southern Uplands
Folksong Melody: A Study of the Musical Generative and Transmittive Processes of an Oral Tradition.
PhD Thesis, North Texas University, Ann Arbor: University Microfilms International.
OCLC 12903203 (https://www.worldcat.org/oclc/12903203)
Bevil, J. Marshall (1986). "Scale in Southern Appalachian Folksong: A Reexamination" (http://sym
posium.music.org/index.php?option=com_k2&view=item&id=2005:scale-in-southern-appalachian
-folksong-a-reexamination&Itemid=124) . College Music Symposium. 26: 77–91.
JSTOR 40373824 (https://www.jstor.org/stable/40373824) .

Bevil, Jack Marshall (1987). "A Paradigm of Folktune Preservation and Change Within the Oral
Tradition of a Southern Appalachian Community, 1916–1986." Unpublished. Read at the 1987
National Convention of the American Musicological Society, New Orleans.

Bronson, Bertrand Harris. The Ballad As Song (Berkeley: University of California Press, 1969).

Bronson, Bertrand Harris. The Singing Tradition of Child's Popular Ballads (Princeton: Princeton
University Press, 1976).

Bronson, Bertrand Harris. The Traditional Tunes of the Child Ballads, with Their Texts, According to
the Extant Records of Great Britain and North America, 4 volumes (Princeton and Berkeley:
Princeton University and University of California Presses, 1959, ff.).

Cartwright, Garth (2005). Princes Amongst Men: Journeys with Gypsy Musicians. London: Serpent's
Tail. ISBN 978-1-85242-877-8

Carson, Ciaran (1997). Last Night's Fun: In and Out of Time with Irish Music. North Point Press.
ISBN 978-0-86547-515-1

Cole, Ross. The Folk: Music, Modernism, and the Political Imagination. Berkeley: University of
California Press, 2021. 275. ISBN 978-0520383746.

Cooley, Timothy J. Making Music in the Polish Tatras: Tourists, Ethnographers, and Mountain
Musicians. Indiana University Press, 2005 (Hardcover with CD). ISBN 978-0-253-34489-2

Cowdery, James R. (1990). The Melodic Tradition of Ireland. Kent, OH: Kent State University Press.
ISBN 978-0-87338-407-0

Czekanowska, Anna. Polish Folk Music: Slavonic Heritage – Polish Tradition – Contemporary
Trends. Cambridge Studies in Ethnomusicology, Reissue 2006 (Paperback). ISBN 978-0-521-
02797-7

Farsani, Mohsen (2003) Lamentations chez les nomades bakhtiari d'Iran. Paris: Université
Sorbonne Nouvelle.

Harker, David (1985). Fakesong: The Manufacture of British 'Folksong', 1700 to the Present Day.
Milton Keynes [Buckinghamshire]; Philadelphia: Open University Press. ISBN 978-0-335-15066-3
Jackson, George Pullen (1933). White Spirituals in the Southern Uplands: The Story of the Fasola
Folk, Their Songs, Singings, and "Buckwheat Notes". Chapel Hill: University of North Carolina Press.
LCCN 33-3792 (https://www.loc.gov/item/33003792) OCLC 885331 (https://www.worldcat.org/
oclc/885331) Reprinted by Kessinger Publishing (2008) ISBN 978-1-4366-9044-7

Matthews, Scott (August 6, 2008). "John Cohen in Eastern Kentucky: Documentary Expression
and the Image of Roscoe Halcomb During the Folk Revival" (https://doi.org/10.18737%2FM74W3
W) . Southern Spaces. 2008. doi:10.18737/M74W3W (https://doi.org/10.18737%2FM74W3W) .

Karpeles, Maud. An Introduction to English Folk Song. 1973. Oxford. Oxford University Press.

Nelson, David Taylor (2012) "Béla Bartók: The Father of Ethnomusicology", Musical Offerings: vol.
3: no. 2, article 2. Béla Bartók: The Father of Ethnomusicology (http://digitalcommons.cedarville.e
du/musicalofferings/vol3/iss2/2)

Pegg, Carole (2001). "Folk Music". The New Grove Dictionary of Music and Musicians, edited by
Stanley Sadie and John Tyrrell. London: Macmillan.

Poladian, Sirvart (1951). "Melodic Contour in Traditional Music". Journal of the International Folk
Music Council. 3: 30–35. doi:10.2307/835769 (https://doi.org/10.2307%2F835769) .
JSTOR 835769 (https://www.jstor.org/stable/835769) .

Poladian, Sirvart (1942). "The Problem of Melodic Variation in Folk Song". The Journal of American
Folklore. 55 (218): 204–11. doi:10.2307/535862 (https://doi.org/10.2307%2F535862) .
JSTOR 535862 (https://www.jstor.org/stable/535862) .

Rooksby, Rikky, Dr Vic Gammon et al. The Folk Handbook. (2007). Backbeat

Sorce Keller, Marcello (2014) "What Can Be Old and What Can Be New in 'Folk Music'", in Thomas
Nussbaumer (Ed.), Das Neue in der Volksmusik in der Alpen. Innsbruck: Universitätsverlag Wagner,
2014.

Sorce Keller, Marcello (1984). "The Problem of Classification in Folksong Research: A Short
History". Folklore. 95 (1): 100–04. doi:10.1080/0015587x.1984.9716300 (https://doi.org/10.108
0%2F0015587x.1984.9716300) . JSTOR 1259763

Sharp, Cecil. Folk Song: Some Conclusions. 1907. Charles River Books

Sharp, Cecil English Folk Songs from the Southern Appalachians. Collected by Cecil J. Sharp. Ed.
Maud Karpeles. 1932. London. Oxford University Press.

Warren-Findley, Jannelle (1980). "Journal of a Field Representative : Charles Seeger and Margaret
Valiant". Ethnomusicology. 24 (2): 169–210. doi:10.2307/851111 (https://doi.org/10.2307%2F851
111) . JSTOR 851111 (https://www.jstor.org/stable/851111) .
 van der Merwe, Peter (1989). Origins of the Popular Style: The Antecedents of Twentieth-Century
Popular Music. Oxford: Clarendon Press. ISBN 978-0-19-316121-4.

External links

Folk Alliance International (http://www.folkalliance.org/) Library resources about

Prominent folk music organization Folk music

Performing Arts Encyclopedia: Traditional Music and Spoken Resources in your library (https://
ftl.toolforge.org/cgi-bin/ftl?st=wp
Word Catalog (https://memory.loc.gov/diglib/ihas/html/afcca &su=folk+music)
rds/afccards-home.html) , Library of Congress Resources in other libraries (http
s://ftl.toolforge.org/cgi-bin/ftl?st
The Traditional Ballad Index: : An Annotated Bibliography of =wp&su=folk+music&library=0CH
OOSE0)
the Folk Songs of the English-Speaking World (https://www.cs
ufresno.edu/folklore/BalladIndexTOC.html) Archived (https://web.archive.org/web/2023020518
2457/https://www.csufresno.edu/folklore/BalladIndexTOC.html) February 5, 2023, at the
Wayback Machine, California State University, Fresno

Ben Gray Lumpkin Digital Folk Music Collection (https://web.archive.org/web/20110410114851/h

ttp://libluna.colorado.edu/SoundModel/index.htm) Howard B. Waltz Music Library, University of
Colorado Boulder

Free scores of Folk music in the Choral Public Domain Library (ChoralWiki)

The short film "To Hear Your Banjo Play (1947)" (https://archive.org/details/to_hear_your_banjo_pl
ay) is available for free viewing and download at the Internet Archive.

The Traditional Music in England project, World and Traditional Music section at the British Library
Sound Archive (https://www.bl.uk/wtm) Archived (https://web.archive.org/web/2011010306503
6/http://www.bl.uk/wtm) January 3, 2011, at the Wayback Machine

The Folk File: A Folkie's Dictionary (http://www.folklib.net/folkfile/) by Bill Markwick (1945–

2017) – musical definitions and short biographies for American and U.K. Folk musicians and
groups. Retrieved September 21, 2017.