English folk music

1531:, co-founded by Ewan MacColl. As the craze subsided from the mid-1950s many of these clubs began to shift towards the performance of English traditional folk material. Many became strict 'policy clubs', that pursued a pure and traditional form of music. By the mid-1960s there were probably over 300 in Britain. Most clubs were simply a regular gathering, usually in the back or upstairs room of a public house on a weekly basis. They were largely a phenomenon of the urbanised middle classes and known for the amateur nature of many performances. There were also 'residents', who performed regular short sets of songs. Many of these later emerged as major performers in their own right, including 2476:

the second revival. The key event in the history of folk music in the counties of the north west of England was the Industrial Revolution, which divided the region economically and culturally into a northern, often highland and pastoral region, in Westmorland and Cumberland and a more urbanised and industrialised southern zone with large and growing conurbations like Manchester and Liverpool, where changing social and economic patterns emerged in new traditions and styles of folk song, often linked to migration and patterns of work, these included processional dances, often associated with rushbearing and the

3072:. Folk songs were collected there from the 19th century but, though it probably had more attention than other northern counties, its rich heritage of industrial folk song was relatively neglected. It was not until the second revival in the 1950s that Nigel and Mary Hudleston began to attempt to redress the balance, collecting Yorkshire songs between 1958 and 1978. Yorkshire folk song lacked the unique instrumental features of folk in areas like Northumbria and was chiefly distinguished by the use of dialect, particularly in the West Riding and exemplified by the song ' 2496:, William E. Axon, Thomas T. Wilkinson and Sidney Gilpin, who performed a similar service for Cumberland. 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. 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 2686:(1885). Both Ewan MacColl and A. L. Lloyd gravitated to London in the 1950s, it was the base of Topic Records and it was there that the first folk clubs were formed before they spread out across the country. It was also the home of folk musicians like Ashley Hutchings, Richard Thompson and Simon Nicol who formed Fairport Convention, and many artists, like Bert Jansch and Davy Graham, moved there in order to be able to pursue their careers or for the greater networks and opportunities the capital allowed. More recent performers of folk music include 1267: 2031:. With industrialisation from the 18th century. A surprising English folk hero immortalised in song is Napoleon Bonaparte, in songs such as the "Bonny Bunch of Roses" and "Napoleon's Dream". As labour became more organised songs were used as anthems and propaganda, for miners with songs like "The Black Leg Miner", and for factory workers with songs like "The Factory Bell". These industrial protest songs were largely ignored during the first English folk revival of the later 19th and early 20th century, but were recorded by figures like 1418: 839: 1930: 51: 721: 1142: 933: 1877:. 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. 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. 2824: 2539: 1915:

century plays. The dance began to be associated with music particularly in 6/8 time, and with slip jigs 9/8 time. 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. 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).

2376:, while local places appear in songs such as 'The Leicester Chambermaid' and 'Oxford' or 'Worcester City'. Folk song collecting in the first revival was much less comprehensive than for many other regions. In the 1860s Llewellynn Jewitt, collected songs from Derbyshire, and some songs were printed by Georgina F. Jackson in her study of Shropshire folk lore. Cecil Sharp's interest in the region was largely confined to the south, particularly the 6441: 1747: 1938:

for Spanish (Muslim) styles of dance and may derive from English court dances of the period. References have been found that suggest that morris dance dates back to the mid-15th century, but claims of pre-Christian origins are now largely dismissed. Morris dance appears to have been widespread in England by the early 17th century, particularly in pastoral areas, but was suppressed, along with associated festivals during and after the

2500:, 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. 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 446: 1645: 2961: 2260: 2662: 2940:' is often sung at sporting events and is seen by many as an unofficial anthem. 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. Some folk tunes have Cornish lyrics written since the language revival of the 1920s. Modern Cornish musicians include the former Cornish folk singer 639: 2088: 2488:. These were very different from the styles of dance that collectors like Cecil Sharp had encountered in the Cotswolds and were largely dismissed by him as contaminated by urbanisation, yet they were, and remain, a thriving tradition of music and dance. A local pioneer of folk song collection in the first half of the 19th century in Lancashire was Shakespearian scholar 1951:. This led to a revival of the tradition, although it may also have affected form and practice. Morris dance took something of a back seat to unaccompanied singing in the second revival, but received a further boost when it attracted the attention of British folk rock musicians like Ashley Hutchings, who produced several albums of dance music, including the influential 1668:, 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. 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. 2272:

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

1559:. 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. 3017:. In the second folk revival the most famous West country musicians were melodeon-player Bob Cann and writer, performer and broadcaster Cyril Tawney, 'The Father of the West Country Folk Revival'. In the 1970s there were figures such as Tony Rose. The same period saw one of the most surprising hybrids in music history 906:, which developed from performances in ale houses into theatres and became the dominant locus of English popular music for over a century. 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 2359:, however the last player, John Hunsley, died in the 19th century and no actual examples of the pipes have survived. From the 19th century the instruments used appear to have been much like those in other regions, with fiddles, accordions and eventually silver and brass. Although, some traditions, like 2475:

songs. With a variety of dialects and acting as something of a crossroads for the cultures and immigrants of England, Scotland and Ireland, there is a distinctive local character to folk music, which expressed itself in local enthusiasm that emerged as a major factor within the wider folk movement in

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and in theatrical productions was probably one of the most influential musicians of the post revival period. The Norfolk melodeon player and singer Tony Hall has given the tradition a unique style. East Anglia made a contribution to the British folk rock scene of the 1970s, producing the short-lived,

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and agricultural work songs, and adapted them to their new experiences and circumstances. Unlike agricultural work songs, it was often unnecessary to use music to synchronise actions between workers, as the pace would be increasingly determined by water, steam, chemical and eventually electric power,

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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',

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began to dominate. 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

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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

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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'. 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

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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. The attendance at, and numbers of folk clubs began to decrease, probably as

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were largely neglected in favour of regional and rural music until relatively recently. London, unsurprisingly, was the most common location mentioned in English folk songs, including 'London is a Fine Town', and the 'London Prentice' and it was the centre of the broadside publishing industry. From

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and even West African work-songs. 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

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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. This led to a number of

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attracted relatively little interest in the early revivals. However, in more recent years a distinct cultural heritage has been recognised including unique folk traditions and songs, many associated with the regions industrial connections. It has also produced a number of important performers and

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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. Many collectors in the first

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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

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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

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sung by people working on a physical and often repetitive task, like the 'Harvest song' common in south-west England. The songs were probably intended to increase productivity while reducing feelings of boredom. Rhythms of work songs can serve to synchronize physical movement in a group or gang.

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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. Shanties were usually slow rhythmic songs designed to help with collective tasks on labour-intensive

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in Oxfordshire and Berkshire and Cecil Sharp in Berkshire, Buckinghamshire, and Kent. In the second folk revival the region contributed several figures, with probably the most important being Martin Carthy from Hertfordshire. The most significant British folk rock group from the region were the

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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. In the mid-18th century it changed from 3/2 time to 2/2, assuming its modern character, and probably reaching the height of its popularity as it became a staple of

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has been one of the key areas of English folk music and collection. It had retained a strong tradition of wassailing, and seafaring songs were important in the coastal counties of Kent and Hampshire. Arguably the published collection of oral material was made in this area by John Broadwood, as

2768:, who emerged as authorities on folk song and eventually as major recording artists. Sussex folk song also had a formative effect on one of the major figures of the second revival, as it was as a child of five in Sussex that A. L. Lloyd first heard folk music. Other performers include 2280:

died out in the 1930s. The region was relatively neglected by folk song collectors of the first revival. Lucy Broadwood and Cecil Sharp collected in Cambridgeshire, as did and Vaughan Williams as well as in Norfolk and Essex from 1905, but most important regional figure was composer

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of late medieval Europe. 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. Many ballads were brought by English settlers to the

1798:' plays, drinking songs, historical events, and, it has been suggested, ancient pagan rituals. Roughly half of the current body recognised 'traditional' English rhymes were known by the mid-18th century. From this period we sometimes know the origins and authors of rhymes, like ' 2471:', thought to have been composed by the Lancashire-born sixteenth century minstrel Richard Sheale. Lancashire in particular was a common location for folk songs, including 'The Lancashire Miller', 'Warrington Ale' and 'The soldier's farewell to Manchester', beside several local 2907:

all flourished. 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

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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

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plays and folk song, but also in part because of the rural nature of the county in the late 19th and early 20th centuries and yet its relatively close proximity to London. It was thus a rich and convenient place for the collectors of the first folk song revival, including

2180:' of 1688. 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. As regimental identities emerged songs were adopted for marching, like ' 2674:

the 17th century to the 19th, street singers were characteristic of London life, often selling printed versions of the songs they sang. The capital is home to the Folk-Song Society and the English Folk Dance Society since the late 19th century (now known as the

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indicates that in the early medieval period it was normal at feasts to pass around the harp and sing 'vain and idle songs'. Since this type of music was rarely notated, we have little knowledge of its form or content. Some later tunes, like those used for

1240:, but these can also be considered the first among the English 'folk troubadours' or 'singer-songwriters', individual performers who remained largely acoustic but who relied mostly on their own individual compositions. The most successful of these was 798:

on New Year's Eve, 1665, a ballad that survived in the oral tradition well into the twentieth century. 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

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morris villages of Oxfordshire and Warwickshire, which provided him with an archetype of English ceremonial dance. From 1905, Percy Grainger was actively collecting in Lincolnshire, acquiring recordings of songs that would provide the basis for his

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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

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in 1897. 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.

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them for publication, as Francis Child and Cecil Sharp did in their collections. 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,

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music, which attempted to elevate folk music through greater musicianship, or compositional and arrangement skills. Many progressive folk performers continued to retain a traditional element in their music, including Jansch and Renbourn, who with

2027:". From roughly the same period, songs of protest at war, pointing out the costs to human lives, also begin to appear, like "The Maunding Souldier or The Fruits of Warre is Beggery", framed as a begging appeal from a crippled soldier of the 3083:), but often seen as an unofficial Yorkshire anthem. Most Yorkshire folk songs were not unique and tended to be adapted to fit local geography and dialect, as was the case with probably the most commercially successful Yorkshire song, ' 1185:, 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 3154: 1700:, 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. 1439:. 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. 2159:

in 1388 and may date to the early 15th century. 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

1232:, but commercial success was elusive for these bands and most had broken up or moved in very different directions by about 1973. Perhaps the finest individual work in the genre was from artists early 1970s artists like 739: 2636:(1843). When the first revival was at its height in the first decade of the 20th century, George Gardiner and Alice Gillington both collected songs in Hampshire, Lucy Broadwood in Surrey, Hampshire and Oxfordshire, 2342:, generally seen as the most prestigious in the calendar. 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. 2285:, who collected over 150 songs in Norfolk and Suffolk in the 1920s. The second folk revival led to the discovery of many East Anglian folk musicians, including Suffolk melodeon player Oscar Woods, Norfolk singers 665:

In the 16th century the changes in the wealth and culture of the upper social orders caused tastes in music to diverge. There was an internationalisation of courtly music in terms of both instruments, such as the

1104:, 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. 2603:. More recently, Northumbrian folk music, and particularly the use of the Northumbrian pipes, has become one of the liveliest and most widely known subgenres of folk music in Britain, with artists like fiddler 2200:', who appeared in many ballads and on stage. 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. 2371:

from Herefordshire, Worcestershire and Shropshire. The region also furnished some important material for folk songs, including a claim by Nottinghamshire for one of the most popular series of ballads, that of

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in 1660 but was in steep decline after agricultural and industrial revolutions by the 19th century, when collectors like Cecil Sharp recorded the practice, particularly from versions of dance he found in the

1293:. It uses traditional music, and compositions in a traditional style, played on a combination of rock and traditional instruments. It was most significant in the 1970s, when it was taken up by groups such as 928:

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.

2645:, 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 2238:

and frequently impossible because of the noise of early industry. As a result, industrial folk songs tended to be descriptive of work, circumstances, or political in nature, making them amongst the earliest

2565:. Local tunes were collected from the mid-18th century by figures including Henry Atkinson and William Vickers and in the first revival by John Bell, Bruce. J. Collingwood and John Stokoe. The short-lived 1583:

from 1952 to 1958, which probably did more than any other single factor to introduce the general population to British folk music in the period. Also important were occasional radio shows, such as Lomax's

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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

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from the later medieval period. From soon after we have records of short children's rhyming songs, but most nursery rhymes were not written down until the 18th century. The first English collections were

3007:(1904–09). Other collectors included Henry and Robert Hammond in Dorset, the Reverend Geoffrey Hill in Wiltshire, Percy Grainger in Gloucestershire and, perhaps the most famous, Ralph Vaughan Williams' ' 1719:

accompanied by singers, which was popular from the mid-12th century. From the 14th century they were used as processional songs, particularly at Advent, Easter and Christmas, and to accompany religious

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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

4534: 1861:, which printed many previously unpublished songs (1968). In England A. L. Lloyd was the key figure in introducing erotic songs to the canon, lecturing and publishing on the subject. He recorded 2431:

fiddler Joe Broughton, which provides something of a clearing house of promising young folk musicians. The regions has numerous folk clubs and host many major folk festivals, including those of

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is much less obvious, but folk music still retains many distinctive local characteristics. As in Cornwall there are very strong traditions of folk dance and mumming, the best known being the

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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

1501:, all largely concerned with acoustic performance of traditional material, marked a radical turn around in the fortunes of the tradition. This was reflected in the adoption creation of the 524:. 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. 2653:, 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. 2391:, began to gain serious attention. Despite this neglect there was an active folk scene in the region, which produced several key artists of the second revival from the 1960s, including 1981:. Particularly in Cotswold and Border morris, many tunes are linked to particular dances. Morris dance survives in the distinct local traditions of Cotswold morris, north-west morris, 710:

accompanied traditional music and community dance. 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

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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,

1610:. In 1967 "My Kind of folk" was broadcast on Wednesdays. In 1970 "Folk on Friday" began, presented by Jim Lloyd. In 1972 it became "Folk on Sunday". "Folkweave" was presented by 4891: 2125:', 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 1660:. The EFDSS gave up its organizing role in these festivals in the 1980s and most are locally run and financed. One of the largest and most prestigious English folk festivals at 1008:(EFDSS). 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 5796: 1345:

and its derivatives. 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

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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

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gaining international reputations. Currently the region has over thirty active folk clubs and hosts several major folk festivals, including the Traditional Music Festival at

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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

1657: 2423:, perhaps the most highly regarded folk guitarist of his generation. Birmingham's position as a centre for folk music has been emphasised by its place as the home of the 3029:, who took most of the elements of West Country folk music for comical folk-style songs with affectionate parodies of more mainstream musical genres, delivered in local 1626:, editor of "fRoots", also presented the occasional series for Radio Two. He hosted a World music programme on "Jazz FM" and then spent 10 years broadcasting on the BBC 2403:

and from Birmingham one of the most influential groups of the period, the Ian Campbell Folk Group, which numbered among its members later British folk rock musicians

2309:(1965), put together by Reg Hall and Bob Davenport with largely Norfolk musicians, it was the first instrumental recording of folk instruments. Also from Norfolk was 1357:. 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. 2557:

tradition that was already well-established in the 1690s. Northumbrian music is characterised by considerable influence from other regions, particularly southern

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into the modern period. Like many dances it was taken up in Scotland and Ireland and given a distinctive national character and moved to America with emigration.

1032:. The second revival was generally left wing in politics and emphasised the work music of the 19th century and previously neglected forms like erotic folk songs. 976:, was probably the most important figure in understanding of the nature of folk song. The revival was part of a wider national movement in the period around the 819:(1765). 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 2980:

in Somerset. The maritime heritage of Devon made sea shanties, hornpipes and naval or sea ballads important parts of regional folk music. From the 19th century

2061:", as well as volatile protest and topical songs concerning the nuclear threat to peace, most notably "Against the Atom Bomb". The leading voice of protest in 875:. 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 5629:

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

2583:(1882–98). The second folk revival saw a number of acts drawing on this work, and enjoying some success. Probably the most influential piper at that time was 6901: 1505:

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.

8597: 3727: 3653: 3608: 2243: 1618:. In 2007 it was renamed "The Mike Harding Folk Show". In October 2012 it was announced that Mike Harding would be leaving the programme to be replaced by 1691:. They are usually narrative in structure and make considerable use of repetition. The traditional ballad has been seen as originating with the wandering 1371:

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

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and Commonwealth in the 16th and 17th centuries. However, there was revival from the late 18th century and seasonal and community festivals, mumming and

2387:(1937). It was not until the early 1970s that the broader heritage of the region, including the many industrial and work songs associated with mining or 791: 4531: 3838: 3494: 3003:(1889–91), the first collection published for the mass market. He later collaborated with Cecil Sharp who, with Charles Marson, produced a three volume 1252:

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.

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There are distinct regional and local variations in content and style, particularly in areas more removed from the most prominent English cities, as in

520:. Cultural interchange and processes of migration mean that English folk music, although in many ways distinctive, has significant crossovers with the 635:

argued that late medieval social elites had their own culture, but were culturally 'amphibious', able to participate in and affect popular traditions.

902:, particularly in industrial centres in the north. The shift to urban centres also began to create new types of music, including from the 1850s the 9546: 2007:

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

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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

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became progressively more popular as a folk instrument in the county, as in the rest of the West Country. There is long and varied history of

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in 1928, and they are generally credited with keeping the distinctive tradition alive. Border ballads were a major part of those collected by

2520:. 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 1782:(c.1785), is the first record we have of many classic rhymes. These rhymes seem to have come from a variety of sources, including traditional 10350: 7002: 5636: 4892:"What shall we do with a drunken sailor – Percy Grainger ethnographic wax cylinders – World and traditional music | British Library – Sounds" 3033:. More seriously, the West Country and particularly Devon, have produced some of the most successful folk artists of recent years, including 505:, but print and subsequently audio recordings have since become the primary means of transmission. The term is used to refer both to English 8562: 8044: 7337: 6430: 2363:

died out in the 1930s, the Midlands retained strong traditions of both ceremonial and social dance, particularly in the south Midlands and

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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

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Old London street cries ; and, The cries of to-day: with heaps of quaint cuts including hand-coloured frontispiece / Cries of to-day

3103:, who began recording Yorkshire versions of folk songs from 1965. Other Yorkshire folk musicians include Heather Wood (born 1945) of the 2549:

possesses a distinctive style of folk music with a flourishing and continuing tradition. The region is particularly noted for the unique

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and, as a result of the close physical and cultural ties between the two peninsulas, some older songs and carols share the same root as

1630:. He currently hosts "fRoots Radio" on the web. For over twenty years, until 2006, Charlie Gillett presented World music on BBC London. 1606:

show on Radio One from 1968, but dropped it when punk arrived in the 1970s. The most consistent source of folk music on radio, has been

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from Cambridge, who produced four albums. The most successful folk artists from the region in recent years are probably the Essex born

430: 4944: 4920: 4899: 2117:

shanties, for long, repetitive tasks requiring a sustained rhythm, but not involving working the lines. Famous shanties include, the '

7703: 6894: 3690: 1810:', written by Sarah Josepha Hale of Boston in 1830. The first, and possibly the most important collection to focus in this area was, 5631:(1812), rpt. with an introduction by David Harker (Newcastle-upon-Tyne: Frank Graham, 1971); B. J. Collingwood, and J. Stokoe, eds, 5452: 4243: 3721: 3647: 3602: 7327: 1107:

There are various databases and collections of English folk songs collected during the first and second folk revivals, such as the

964: 299: 6385: 5682: 4180: 3131:. Even considering its position as the largest county in England, Yorkshire has a flourishing folk music culture, with over forty 8476: 6319: 5181: 393: 304: 2233:

Industrial folk song emerged in Britain in the 18th century, as workers took the music with which they were familiar, including

597:, may have their origins in this period, but it is impossible to be certain of these relationships. We know from a reference in 8854: 8431: 6365: 5881: 5814: 1024:

as new forms of media and American commercial music appeared to pose another threat to traditional music. The key figures were

2871:

died out, as elsewhere in southern England, in the 16th century, but have recently been re-created. From the mid-19th century

1391:

also became popular in the 80s, with acts like the English Country Blues Band and Tiger Moth. The decade later saw the use of

1173:

in 1967. Others totally abandoned the traditional element and in this area particularly influential were the Scottish artists

7641: 7196: 6956: 5568: 5539: 2682:, were not considered folk music by mainstream collectors and were recorded and published by figures such as Andrew White in 17: 9539: 8513: 7683: 6887: 5506: 2542:

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

6200: 5917: 5602: 5398: 4315: 3790: 1687:

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

8677: 7332: 6997: 6992: 6987: 6982: 6977: 6186: 2944:

and the Cornish-Breton family band Anao Atao. Recently bands like Sacred Turf, Skwardya and Krena, have begun performing

2675: 1005: 973: 224: 2591:

and Bob Davenport brought Northumbrian folk to national and international audiences. The 1970s saw folk rock bands like

7317: 6951: 6493: 6488: 6483: 6478: 6473: 6468: 6463: 6458: 1619: 6349: 1732:' and they were more strongly revived from the 19th century and began to be written and adapted by eminent composers. 1052:. The fusing of various styles of American music with English folk also helped to create a distinctive form of guitar 1036:, founded in 1939, provided a major source of folk recordings. The revival resulted in the foundation of a network of 10343: 9459: 8106: 7347: 7266: 3765: 2045: 1770: 1665: 1116: 1112: 1009: 730: 160: 7116: 871:

the themes of the music of the labouring classes began to change from rural and agrarian life to include industrial

11110: 7383: 7170: 6924: 6423: 6408: 4945:"All away Joe – Percy Grainger ethnographic wax cylinders – World and traditional music | British Library – Sounds" 2612: 2566: 1614:

1975–8. "Folk on Two" (Wednesdays) began in 1980. In 1998 Jim Lloyd retired from the programme and was replaced by

1435: 812: 469: 1543:. A later generation of performers used the folk club circuit for highly successful mainstream careers, including 1123:

contains thousands of recordings of traditional English folk music, including 340 wax cylinder recordings made by

9532: 5219: 4921:"Shenandoah – Percy Grainger ethnographic wax cylinders – World and traditional music | British Library – Sounds" 4026:

World Music: Latin and North America, Caribbean, India, Asia and Pacific Volume 2 of World Music: The Rough Guide

3139:. In 2007, the Yorkshire Garland Group was formed to make Yorkshire folk songs accessible online and in schools. 3045:

and his brothers. The region has numerous folk clubs and annual festivals, including those at Portsmouth and the

2570: 2334:. The region is home to numerous folk clubs and hosts many folk festivals, including Steeleye Span's Spanfest at 2053:

became the leading writer of English protest songs in the 1950s, with pro-communist songs such as "The Ballad of

1656:(from 1955) and the Keele Festival (1965), which was abandoned in 1981 but reinstituted three years later as the 1152:

The process of fusion between American musical styles and English folk can also be seen as the origin of British

1200:

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

11115: 10793: 9833: 4819:

C. Irwin,'Power to the people; Aldermaston: The birth of the British protest song", 2008-08-10, 'The Guardian'

276: 9135: 8979: 4832:

M. Willhardt, 'Available rebels and folk authenticities: Michelle Shocked and Billy Bragg' in I. Peddie, ed.,

2719:

has disproportionately affected the history of English folk music. This was due to a flourishing tradition of

2463:

had a rich tradition of balladry stretching back at least to the 17th century and sharing in the tradition of

2002: 794:, 1st Earl of Oxford and Mortimer (1661–1724). Pepys notably mentioned in his famous diary singing the ballad 567:

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

9454: 8637: 8247: 8033: 7546: 4262: 3846: 3502: 2411:. Slightly later a number of folk groups came out of Derbyshire, including The Druids, Ram's Bottom Band and 1376: 1120: 1013: 9244: 6684: 4807: 3930: 2736:

and W. P. Merrick. Sussex material was used by the composers of the English pastoral school, for example in

2242:

and were sung between work shifts or in leisure hours, rather than during work. This pattern can be seen in

10336: 8652: 8570: 4863:

Shanties from the Seven Seas: Shipboard Work-songs and Songs Used as Work-songs from the Great Days of Sail

876: 10291: 8889: 3076:', probably written in the later 19th century and using a Kent folk tune (almost certainly borrowed via a 11105: 9491: 8615: 8221: 7646: 7626: 7554: 7418: 7403: 6972: 6910: 6416: 5490:

The Songs and Ballads of Cumberland and the Lake Country, with Biographical Sketches, Notes, and Glossary

5241: 2984:

have been a popular and accepted part of the local folk sound. Folk songs from the West Country include '

2937: 1799: 1205: 1021: 984:

of classical music which incorporated traditional songs or motifs, as can be seen in the compositions of

502: 462: 82: 72: 9229: 8057: 5313:

The Ballads & Songs of Derbyshire, with Illustrative Notes, and Examples of the Original Music, etc.

4820: 3252:(London: Collins & Brown in association with the National Maritime Museum, Greenwich, 1991), p. 154. 1962: 9118: 8810: 8798: 8411: 8384: 8116: 7322: 7053: 6939: 5899: 4995:

The Jacobite Songs and Ballads of Scotland from 1688 to 1746: With an Appendix of Modern Jacobite Songs

2650: 2432: 1764: 955: 778: 751: 425: 10317: 9350: 9333: 9276: 5008:

The National and Religious Song Reader: Patriotic, Traditional, and Sacred Songs from Around the World

1728:

which banned many religious festivals, but some famous carols were written in this period, including '

10786: 10631: 10575: 10552: 10500: 9980: 9909: 9826: 9464: 9387: 9055: 8707: 8642: 8622: 7823: 6929: 6755: 6553: 4625: 3084: 3073: 2909: 2788:. The county has over twenty folk clubs and other venues hosting folk music by organisations such as 2729: 2468: 2185: 2152: 628: 232: 8685: 5474:

Palatine Garland, being a Selection of Ballads and Fragments Supplementary to the Palatine Anthology

3839:"Percy Grainger ethnographic wax cylinders - World and traditional music | British Library - Sounds" 3495:"Percy Grainger ethnographic wax cylinders – World and traditional music | British Library – Sounds" 3297:

From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century

2069:, whose style of protest song and grass-roots political activism was mostly reminiscent of those of 10761: 9605: 9130: 8974: 7676: 7575: 6835: 5633:

Northumbrian Minstrelsy: A Collection of the Ballads, Melodies, and Small-Pipe Tunes of Northumbria

3008: 2424: 2298: 1245: 1004:(1862–1934). In 1932 the Folk-Song Society and the English Folk Dance Society merged to become the 90: 9214: 8793: 8605: 8575: 4476:

Discourse on Popular Culture: Class, Gender, and History in Cultural Analysis, 1730 to the Present

3341:"Never heard of Barbara Allen? The world's most collected ballad has been around for 450 years..." 2172:

ballads", including "When the King Home in Peace Again". Many of these were adapted and reused by

11079: 10757: 10424: 9868: 9807: 9792: 9595: 9431: 9416: 9323: 9192: 8712: 7600: 7373: 7368: 7246: 6934: 6760: 5470:

Palatine Anthology: A Collection of Ancient Poems and Ballads Relating to Lancashire and Cheshire

3884: 3266: 3013: 2992:' and 'The Seeds of Love.' The region was important in the first folk revival, as the Devon-born 2550: 2489: 2339: 1811: 1661: 1502: 1045: 981: 911: 632: 420: 9261: 9239: 9035: 8906: 8822: 6806: 4244:

http://www.bbc.co.uk/mediacentre/latestnews/2012/mark-radcliffe-adds-folk-to-radio-2-roster.html

2669:

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

611:

were being sung from at least the late 14th century and the oldest detailed material we have is

10490: 10429: 9631: 9328: 8627: 8453: 8416: 8257: 8156: 7398: 6850: 6259:, ed., M. Gordon and R. Adams (Scarborough: G. A. Pindar and Son, 2001) and P. Davenport, ed., 3050: 2760:'s arrangement of 'Folk Songs from Sussex'. Most important of the collector's sources were the 2741: 2637: 2400: 2181: 2122: 1807: 1725: 1182: 989: 968:(1882–92) became the most influential in defining the repertoire of subsequent performers, and 220: 11038: 9177: 9167: 9162: 9074: 9001: 8923: 8877: 8867: 8837: 5703: 1425:

In a process strikingly similar to the origins of British folk rock in the 1960s, the English

10644: 10434: 10296: 9710: 9600: 9291: 8749: 8742: 8610: 8421: 8082: 7938: 7457: 7201: 7165: 6750: 6558: 6400: 3471:(Aldershot: Ashgate, 2003), pp. 6, 8, 32, 38, 53–63, 68–70, 74–8, 97, 99, 103, 112–4 and 132. 3148: 3030: 2264: 1729: 1576: 942:

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

898:

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

868: 838: 624: 289: 210: 145: 9224: 9209: 8962: 8697: 8580: 8227: 8094: 7408: 7111: 6370: 5934: 2350:

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

11069: 10910: 10767: 10383: 10265: 9555: 9281: 9187: 9182: 8832: 8737: 8458: 7585: 7393: 7312: 7018: 6801: 5347:

The Jolly Machine: Songs of Industrial Protest and Social Discontent from the West Midlands

3310:

Musica Practica: The Social Practice of Western Music from Gregorian Chant to Postmodernism

3088: 2695: 2546: 2533: 2509: 1966: 1893: 1290: 1108: 1089: 923: 888: 843: 795: 346: 116: 9298: 9266: 9219: 8827: 8489: 7131: 6944: 6440: 5163: 3698: 8: 11084: 10520: 10510: 10359: 10275: 9802: 9469: 9318: 9249: 9023: 8989: 8928: 8916: 8899: 8501: 8371: 8201: 7760: 7669: 7636: 7499: 7363: 7307: 7271: 7256: 7126: 6830: 5449: 3112: 3018: 2996: 2933: 2896: 2574: 2501: 2396: 2177: 2156: 1943: 1823: 1741: 1278: 1270: 959: 943: 196: 120: 9904: 5365: 527:

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

10922: 10603: 10092: 9940: 9685: 9372: 9367: 9345: 9271: 9234: 9040: 9013: 8957: 7948: 7631: 7570: 7550: 7423: 7068: 7033: 6765: 6745: 6679: 6529: 5679: 5430:

The Songs of the People for Me: The Victorian Rediscovery of Lancashire Vernacular Song

5317:

Shropshire Folk-Lore: A Sheaf of Gleanings, from the Collections of Georgina F. Jackson

4419:(Oxford: Oxford University Press, 1951, 2nd edn., 1997), pp. 30–1, 47–8, 128–9 and 299. 4177: 3100: 2757: 2687: 2628: 2592: 2588: 2460: 2323: 2282: 2114: 2015:, from the 14th century onwards can be seen as a more subtle form of protest. With the 1803: 1346: 1077: 993: 691: 407: 58: 41: 6323: 5185: 2222:. The two main types of work song in England are agricultural work songs, usually are 2151:

writers from the 16th century onwards, including one of the earliest British ballads '

2147:

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

1266: 10480: 10198: 9965: 9254: 9197: 9172: 9079: 8862: 8771: 8292: 8209: 7985: 7616: 7590: 7565: 7517: 7378: 7211: 7160: 7106: 6796: 6775: 6735: 6509: 6187:

http://www.bbc.co.uk/devon/content/articles/2009/01/06/folk_awards_2009_feature.shtml

5200: 4720: 2945: 2925: 2900: 2836: 2818: 2383: 2165: 2118: 2101: 2062: 1939: 1870: 1688: 1653: 1417: 1261: 1229: 804: 800: 787: 671: 552: 521: 506: 294: 137: 9883: 6438: 6344:'Folk songs of traditional Yorkshire to be celebrated on group's heritage website,' 6024: 5510: 4631:

Dance and Instrumental Diferencias in Spain During the 17th and Early 18th Centuries

11053: 10809: 10720: 10312: 10249: 10077: 9878: 9849: 9771: 9513: 9481: 9113: 8935: 8484: 8237: 8232: 7994: 7975: 7621: 7580: 7560: 7342: 7241: 7206: 6573: 6534: 6395: 6350:

http://www.yorkshirepost.co.uk/video/Folk-songs-of-traditional-Yorkshire.3166419.jp

6320:"Folk and Roots - the Guide to Yorkshire Folk Venues, Clubs, Resources and Artists" 6137: 5914: 5754: 5484:(Manchester: Tubbs & Brook, 1887); John Harland & Thomas Turner Wilkinson, 5330:

Twenty-One Lincolnshire Folk-Songs from the Manuscript Collection of Percy Grainger

4795:

The Industrial Muse: A Study of Nineteenth Century British Working-class Literature

3732: 3658: 3613: 3151:– term used in 1960s to 1970s to describe a genre of instrumental traditional music 3092: 3069: 2949: 2868: 2691: 2646: 2562: 2351: 2297:(1914–96); Suffolk fiddler Harkie Nesling (1890–1978); Suffolk singer and bargeman 2028: 2024: 1990: 1568: 1482: 1457: 1433:

added violins from a session musician on several tracks for their 1990 debut album

1396: 1314: 1294: 1282: 1249: 1221: 1194: 1190: 1186: 1170: 1153: 1145: 1136: 1097: 1017: 1001: 679: 598: 543:. It has also interacted with other musical traditions, particularly classical and 318: 284: 252: 155: 150: 10593: 10565: 7180: 6633: 6396:

Field recordings by various collectors from the British Library (See under Europe)

5572: 5536: 3750: 3676: 3631: 2129:, who recorded several traditional versions on phonographs. In the second revival 1929: 11048: 10876: 10715: 10455: 10450: 10244: 10097: 9787: 9766: 9446: 9377: 9045: 8776: 8717: 8667: 8657: 8436: 8379: 8322: 8310: 8126: 7833: 7748: 7595: 7478: 7302: 7276: 6811: 5921: 5686: 5543: 5456: 5223: 4749:

The Common Muse: An Anthology of Popular British Ballad Poetry, XVth-XXth Century

4725:

Cromwell & Communism: Socialism and Democracy in the Great English Revolution

4585:

Making the Irish American: History and Heritage of the Irish in the United States

4538: 4266: 4184: 3919:

The Rough Guide to Rock: the definitive guide to more than 1200 artists and bands

3120: 3104: 2985: 2952:. The Cornwall Folk Festival has been held annually for more than three decades. 2852: 2785: 2781: 2753: 2711: 2634:

Old English Songs, As Now Sung by the Peasantry of the Weald of Surrey and Sussex

2608: 2314: 2189: 2008: 1933:

English Elizabethan clown Will Kempe dancing a jig from Norwich to London in 1600

1623: 1556: 1540: 1474: 1277:

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

1177:, who was most influenced by emerging progressive folk musicians in America like 1049: 977: 907: 852: 654: 612: 498: 415: 127: 10393: 9574: 8404: 8161: 6227:

Sword Dances of Northern England Together with the Horn Dance of Abbots Bromley,

5480:(London: Whittaker & Co., 1865. 2nd edn: London: 1875); William E. A. Axon, 2508:. More recently it has produced some significant performers including guitarist 2246:, mining and eventually steel, shipbuilding, rail working and other industries. 1580: 580:

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

10928: 10736: 10588: 9995: 9945: 9670: 9476: 9421: 9382: 9050: 8872: 8722: 8662: 8647: 8528: 8214: 8176: 8146: 7953: 7890: 7216: 6863: 6204: 5606: 5402: 4774: 4728: 4319: 3736: 3662: 3617: 3116: 2989: 2941: 2880: 2745: 2737: 2733: 2497: 2464: 2420: 2404: 2319: 2161: 2133:

attempted to popularise them, recording several albums of sea songs from 1965.

2126: 1958: 1548: 1544: 1453: 1430: 1201: 1162: 1141: 1124: 985: 951: 585: 548: 540: 450: 366: 203: 100: 65: 31: 6879: 5286: 3157:(with an emphasis on artists from Britain and the U.S.A.) as contained in the 3046: 2823: 2023:

in the mid-17th century, more overt criticism surfaced, as in the ballad "The

1664:

was founded in 1965 and attracts about 10,000 people. Probably the largest is

1523:

craze, from about 1956–8. New clubs included the 'Ballad and Blues' club in a

50: 11099: 11007: 10678: 10540: 10398: 10208: 10072: 9730: 9579: 9496: 9360: 9286: 9089: 8732: 8727: 8585: 8523: 8441: 8357: 8352: 8302: 8121: 8067: 7797: 7785: 7770: 7743: 7736: 7731: 7428: 7281: 7261: 7138: 7028: 6674: 6578: 6568: 3136: 3124: 3096: 3034: 2904: 2888: 2876: 2840: 2784:. Sussex songs were also the foundation of the repertoire of the influential 2777: 2773: 2761: 2579: 2412: 2388: 2368: 2335: 2310: 2302: 2294: 2239: 2070: 2058: 1982: 1897: 1721: 1639: 1627: 1611: 1536: 1494: 1305:. It was rapidly adopted and developed in the surrounding Celtic cultures of 1298: 1225: 1208:

following the eastern Indian musical and more abstract work by group such as

1158: 1101: 1093: 1069: 1065: 1041: 1033: 856: 820: 773: 711: 603: 247: 237: 180: 175: 10121: 7661: 6261:

The South Riding Songbook: Songs from South Yorkshire and the North Midlands

5867: 5076:

Continuum Encyclopedia of Popular Music, vol. 1: Media, Industry and Society

4569:

The Extraordinary Dance Book T B. 1826: An Anonymous Manuscript in Facsimile

1802:', which combined an 18th-century French tune with a poem by English writer 11028: 10977: 10863: 10700: 10692: 10654: 10613: 10598: 10465: 10373: 10229: 10087: 9751: 9680: 9155: 9094: 9084: 9018: 8996: 8815: 8764: 8533: 8337: 8327: 8242: 8171: 8166: 8077: 7914: 7885: 7860: 7838: 7780: 7492: 7471: 7175: 7155: 7058: 7048: 6868: 6780: 6725: 6613: 6588: 6583: 6514: 3603:"Larner, Samuel James [Sam] (1878–1965), fisherman and folk-singer" 3042: 2969: 2892: 2679: 2600: 2596: 2538: 2517: 2505: 2493: 2485: 2436: 2273: 2219: 2193: 2082: 2050: 1986: 1924: 1775: 1716: 1615: 1590: 1524: 1498: 1490: 1486: 1426: 1310: 1241: 1217: 1209: 1057: 1025: 997: 947: 932: 832: 828: 783: 594: 528: 517: 371: 341: 262: 257: 8803: 5478:

Ballads and Songs of Lancashire, Chiefly Older than the Nineteenth Century

5092: 4463:

Lovers, Rakes and Rogues, Amatory, Merry and Bawdy Verse from 1580 to 1830

3814: 3691:"Fred Jordan - A Shropshire Lad CD review - The Living Tradition Magazine" 11043: 11033: 11011: 10947: 10916: 10710: 10705: 10525: 10495: 10475: 10239: 10234: 10212: 9990: 9985: 9975: 9970: 9960: 9873: 9761: 9756: 9734: 9524: 9501: 9486: 9104: 9099: 8842: 8632: 8399: 8332: 8191: 8186: 8181: 8151: 8141: 8087: 8072: 8009: 7928: 7919: 7909: 7902: 7765: 7286: 7251: 6770: 6563: 5879:

E. D. Gregory, 'A. L. Lloyd and the English Folk Song Revival, 1934–44',

4709:

The Outlaw Legend: A Cultural Tradition in Britain, America and Australia

3905: 3038: 3026: 3022: 2993: 2973: 2929: 2917: 2827:

The red party attending the red 'obby 'oss in the Padstow mayday festival

2769: 2765: 2749: 2642: 2513: 2428: 2392: 2360: 2327: 2277: 2130: 2066: 2054: 2040: 2032: 1957:

series from 1972. Traditionally Morris dance was accompanied by either a

1874: 1849: 1831: 1607: 1532: 1388: 1384: 1380: 1342: 1334: 1302: 1237: 1213: 1073: 1061: 1053: 1029: 969: 936: 899: 703: 675: 581: 564: 513: 8446: 7960: 4808:

http://www.bbc.co.uk/radio2/r2music/folk/reviews/englishrebelsongs.shtml

4108:

D. Else, J. Attwooll, C. Beech, L. Clapton, O. Berry, and F. Davenport,

4055: 2184:', based on a 17th-century dance tune. Output became a flood during the 1080:

and therefore preserved the authentic versions. These people, including

10967: 10870: 10856: 10824: 10583: 10419: 10378: 10067: 9950: 9665: 9441: 9426: 9392: 9065: 9028: 8950: 8894: 8550: 8494: 8394: 8389: 8347: 8342: 8315: 8136: 8131: 7980: 7943: 7933: 7880: 7855: 7792: 7692: 7433: 7388: 7063: 6720: 6689: 6524: 6375: 6082: 5815:"Anna Tam | Folk Band | Gig Listings - Artist Listed on Folk and Honey" 5643:(Cambridge: Cambridge University Press, 1915, Read Books, 2008), p. 42. 5129: 3128: 2981: 2793: 2720: 2604: 2584: 2481: 2477: 2472: 2440: 2373: 2331: 2286: 2226: 2209: 2173: 2012: 1974: 1514: 1470: 1466: 1462: 1412: 1372: 1354: 1233: 1081: 1037: 903: 872: 763: 608: 560: 544: 501:

and later commercial music. Folk music traditionally was preserved and

10831: 10414: 10328: 9935: 9863: 8984: 6169: 5216: 2318:

but more recently reformed, bands Midwinter and Stone Angel, based in

1040:

in major towns, from the 1950s. Major traditional performers included

10515: 10460: 9930: 9888: 9621: 9506: 9436: 8702: 8275: 8014: 7970: 7897: 7875: 7865: 7828: 7807: 7775: 7413: 7101: 7096: 7078: 6845: 6715: 6699: 6519: 5745:, ed., Maud Karpeles, 2 vols (London: Oxford University Press, 1974). 5270: 4821:

https://www.theguardian.com/music/2008/aug/10/folk.politicsandthearts

4683:

The Acoustic World of Early Modern England: Attending to the O-factor

4629:, vol. 2 (Oxford: Oxford University Press, 1983), p. 1203; M. Esses, 4399:

Children's Literature: a Reader's History, from Aesop to Harry Potter

3901: 3377:

The Imagined Village: Culture, Ideology, and the English Folk Revival

3132: 3077: 3065: 3054: 2872: 2577:

and make up most of the sixth volume of his ten volume collection of

2521: 2416: 2408: 2364: 2290: 2215: 2142: 2096: 2016: 1970: 1953: 1948: 1697: 1692: 1599: 1478: 1449: 1366: 1350: 1286: 1178: 1166: 1085: 556: 326: 6390: 4791:

The Urban & Industrial Songs of the Black Country and Birmingham

4751:(Chatto & Windus, 1957), pp. 39–51, 145, 148–50, 159–60 and 250. 4084:

All music guide to rock: the definitive guide to rock, pop, and soul

2789: 2196:' and the emergence of a stereotype of the English seaman as 'Jolly 1746: 958:(1863–1954), centred around the Folk Song Society, founded in 1911. 772:

early collections of printed material, including those published by

589: 10972: 10778: 10662: 10174: 10082: 9720: 9675: 9202: 9145: 8945: 8759: 8690: 8282: 7870: 7802: 7753: 7464: 7148: 7073: 7038: 6694: 6653: 6608: 4491:(Champaign, IL: University of Illinois Press, 1968) and G. Legman, 4063: 2977: 2860: 2832: 2616: 2558: 2415:, which included one of the most highly regarded modern performers 2377: 2356: 2197: 2169: 1886: 1552: 1338: 1326: 1322: 1306: 707: 687: 536: 494: 165: 8940: 4764:(Baltimore, MD: Johns Hopkins University Press, 2004), pp. 98–100. 4259: 30:

This article is about English folk music. Not to be confused with

10838: 10388: 9914: 9569: 9355: 9338: 9060: 8967: 8882: 8754: 8287: 8062: 8019: 8004: 7965: 7843: 5735:

Eight Hampshire Folk Songs Taken from the Mouths of the Peasantry

5381: 4478:, (Stanford CA: Stanford University Press, 1989), p. 122 and 129. 2921: 2913: 2884: 2797: 2724: 2448: 2444: 2234: 2148: 2020: 1965:, but from the mid-19th century most common instruments were the 1795: 1791: 1787: 1783: 1758: 1682: 1520: 1318: 1174: 1078:

learnt the old songs in the oral tradition from their communities

846:" one of the most widely collected English language folk ballads. 746: 695: 361: 336: 331: 185: 170: 5551: 1644: 95: 10899: 9955: 9626: 9006: 8911: 8786: 8781: 8545: 8518: 7726: 7450: 7143: 7023: 6730: 6669: 5236: 4775:'The Grand Conversation: Napoleon and British Popular Balladry' 3722:"Pardon, Walter William (1914–1996), carpenter and folk-singer" 3108: 3080: 3068:

has a rich heritage of folk music and folk dance including the

3053:

in Devon along with its associated 'Late Night Extra' venue at

2960: 2879:

from the medieval period, with records of strong traditions of

2844: 2716: 2670: 2554: 2259: 2223: 1709: 1392: 683: 658: 356: 9818: 7999: 5531:

J, C. Falstaff, 'Roy Harper Longest Running Underground Act',

5245: 5021:

Acts of Supremacy: The British Empire and the Stage, 1790–1930

4373:

Carols; Their Origin, Music, and Connection with Mystery-Plays

3963:(Oxford: Oxford University Press, 2005), pp. 84, 97 and 103–5. 3413:(Montreal: McGill-Queen's University Press, 1987), pp. 160–90. 2661: 2155:', which deals with the events of the Scottish victory of the 1892:

theatrical performances. It is most often associated with the

10987: 10957: 10904: 10893: 10621: 10560: 10505: 10485: 10470: 10126: 10028: 9695: 9655: 9636: 9123: 8540: 8506: 8265: 7848: 6740: 6623: 6598: 5698:

R. Denselow, "Rachel Unthank and the Winterset, The Bairns",

4670: