285:, shouts, and moans, which may have been originally designed for different bands or individuals to locate each other and narrative songs that used folk tales and folk motifs, often making use of homemade instruments. In early African captivity drums were used to provide rhythm, but they were banned in later years because of the fear that Africans would use them to communicate in a rebellion; nevertheless, Africans managed to generate percussion and percussive sounds, using other instruments or their own bodies. In the 1950s, there are very few examples of work songs linked to cotton picking.
247:. Though this text included many songs by slaves, other texts have also been published that include work songs. Many songs sung by slaves have their origins in African song traditions, and may have been sung to remind the Africans of home, while others were instituted by the captors to raise morale and keep Africans working in rhythm. They have also been seen as a means of withstanding hardship and expressing anger and frustration through creativity or covert verbal opposition. Similarly, work songs have been used as a form of rebellion and resistance. Specifically,
145:, songs for mobilisation–calling members of a community together for a collective task–were extremely important. Both hunting and the keeping of livestock tended to involve small groups or individuals, usually boys and young men, who would spend long hours working, away from the centers of settlement. As a result, these activities tended to produce long narrative songs, often sung individually, which might dwell on the themes of pastoral activity or animals, designed to pass the time in the tedium of work.
276:. The call and response format showcases the ways in which work songs foster dialogue. The importance of dialogue is illuminated in many African-American traditions and continues on to the present day. Particular to the African call and response tradition is the overlapping of the call and response. The leader's part might overlap with the response, thus creating a unique collaborative sound. Similarly, African-American folk and traditional music focuses on
584:. Lead Belly knew hundreds of work hollers and traditional songs from the cotton fields, railroads and prison gangs. In the 1940s he toured widely on college campuses and folk music venues, popularising songs including "Take This Hammer", "John Henry" "Boll Weevil" and "Midnight Special". His repertoire was a major influence on the Folk Revival of the 1950s and 1960s. Mining songs written in the late 1940s by country artists
350:
his crew, both physically and emotionally, while seeing to the coordination of the work at hand. It took a skilled, sensitive caller to raise the right chant to fit the task at hand and the mood of the men. Using tonal boundaries and melodic style typical of the blues, each caller had his own signature. The effectiveness of a caller to move his men has been likened to how a preacher can move a congregation."
289:
which an entire community of planters would gather on one plantation. The planters would bring their harvests, as well as their enslaved workers, and work such as shucking corn, rolling logs, or threshing rice would be done, accompanied by the singing of
Africans doing work. The following is an example of a song Africans would sing as they approached one of these festivals. It is from ex bonded African
281:"improvisation is utilized extensively in Black folk songs, and it is an essential element especially in songs that employ the call-and-response pattern." Brooks also notes that often in a work song, "the leader has license to improvise on the melody in call, while the response usually repeats its basic melody line without change." Also evident were
557:
industrial protest songs, which included narratives of disasters (particularly among miners), laments for conditions, as well as overtly political strike ballads. He also noted the existence of songs about heroic and mythical figures of industrial work, like the coal miners the 'Big Hewer' or 'Big Isaac' Lewis.
530:
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,
449:
format. Well before the nineteenth century, sea songs were common on rowing vessels. Such songs were also very rhythmic in order to keep the rowers together. Because many cultures used slaves to row, some of these songs might also be considered slave songs. Improvised verses sung by sailors spoke of
689:
wrote work poems that were set to music during the early 1960s folk revival and became standards, such as the call-and-reply canecutting song "Cane Killed Abel" and one of the first songs about the social and environmental damage caused by industrialisation, "Weevils in the Flour". Alternative rock
349:
crews used songs and chants as tools to help accomplish specific tasks and to send coded messages to each other so as not to be understood by the foreman and others. The lead singer, or caller, would chant to his crew, for example, to realign a rail to a certain position. His purpose was to uplift
353:
Another common type of
African-American work song was the "boat song." Sung by slaves who had the job of rowing, this type of work song is characterized by "plaintive, melancholy singing." These songs were not somber because the work was more troublesome than the work of harvesting crops. Rather,
288:
Corn, however, was a very common subject of work songs on a typical plantation. Because the crop was the main component of most
Africans' diet, they would often sing about it regardless of whether it was being harvested. Often, communities in the south would hold "corn-shucking jubilees," during
280:
rather than a melody with a harmony. Often, there will be multiple rhythmic patterns used in the same song "resulting in a counterpoint of rhythms." The focus on polyphony also allows for improvisation, a component that is crucial to
African-American work songs. As scholar Tilford Brooks writes,
556:
defined the industrial work song as 'the kind of vernacular songs made by workers themselves directly out of their own experiences, expressing their own interest and aspirations...'. Lloyd also pointed to various types of song, including chants of labour, love and erotic occupational songs and
175:
intended to increase productivity while reducing feelings of boredom. Rhythms of work songs, similar to an
African drum beat, served to synchronize physical movement in groups, coordinating sowing, hoeing, and harvesting. The usage of verses in work songs were sometimes improvised and sung
230:
African-American work songs originally developed in the era of slavery, between the seventeenth and nineteenth centuries. Because they were part of an almost entirely oral culture, they had no fixed form and only began to be recorded as the era of slavery came to an end after 1865.
701:
With the end of the folk boom in the 1970s and the rise of the introspective singer-songwriter, the genre lost its wide public appeal, but work songs have continued to be very popular throughout the folk scene, at protest gatherings and with union choirs.
354:
they were low-spirited so that they could maintain the slow, steady tempo needed for rowing. In this way, work songs followed the
African tradition, emphasizing the importance of activities being accompanied by the appropriate song.
344:
Work songs were used by
African-American railroad work crews in the southern United States before modern machinery became available in the 1960s. Anne Kimzey of the Alabama Center For Traditional Culture writes: "All-black
542:, mining and eventually steel, shipbuilding, rail working and other industries. As other nations industrialised their folk song underwent a similar process of change, as can be seen for example in France, where
41:
is a piece of music closely connected to a form of work, either one sung while conducting a task (usually to coordinate timing) or one linked to a task that may be a connected narrative, description, or
190:. It contained mostly nonsensical and out-of-place words that were presumably sung to a similar—if not the same—tune: "Yanker, didel, doodle down, Diddle, dudel, lanther, Yanke viver, voover vown,
73:
work or have work as the main subject, since the two categories are often interconnected. Norm Cohen divided collected work songs into the following categories: domestic, agricultural or pastoral,
85:
built on these categories by dividing agricultural and pastoral songs into subsections: hunting, cultivation and herding songs. Goia also highlighted the industrial or proto-industrial songs of
251:
have a particular history and center on resistance and self-care. Work songs helped to pass down information about the lived experience of enslaved people to their communities and families.
260:
format, where a leader would sing a verse or verses and the others would respond with a chorus. This came from
African traditions of agricultural work song and found its way into the
1099:
180:
sang improvised verses to mock their overseers, express frustrations, and share dreams of escaping. Many work songs served to create connection and familiarity between workers.
650:
produced hundreds of albums of political and traditional songs, writing many songs referring to industrial and working conditions. Folk or folk-rock performers including
468:
in the nineteenth century as they moved west. They reflected the realities of the range and ranch houses where the music originated, played a major part in combating the
423:
since the seventh and eighth centuries." There was particularly a significant trans-Saharan cross-fertilization between the musical traditions of the
Maghreb and the
445:, raising anchor, and other tasks where men would need to pull in rhythm. These songs usually have a very punctuated rhythm precisely for this reason, along with a
546:
noted the rise of 'Chansons
Industriale' among cloth workers in the early nineteenth century, and in the USA where industrialisation expanded rapidly after the
441:
Work songs sung by sailors between the eighteenth and twentieth centuries are known as sea shanties. These songs were typically performed while adjusting the
391:
music, noting that both have similar lyrics praising God, melody, note changes, "words that seem to quiver and shake" in the vocal cords, dramatic changes in
685:
In Australia, shearing songs and droving songs featured strongly in the first traditional songs to be collected in the field in the 1950s. Merv Lilley and
539:
500:. In the nineteenth century cowboy bands developed and cowboy songs began to be collected and published from the early twentieth century with books like
526:
Industrial folk song emerged in Britain in the eighteenth century, as workers took the forms of music with which they were familiar, including
543:
534:
As a result, industrial folk songs tended to be descriptive of work, circumstances, or political in nature, making them amongst the earliest
1535:
508:(1910). As cowboys were romanticised in the mid-twentieth century they became extremely popular and played a part in the development of
403:
who accounted for an estimated 30% of African slaves in America. According to Kubik, "the vocal style of many blues singers using
842:
Immortal Songs of Camp and Field: The Story of Their Inspiration, Together with Striking Anecdotes Connected with Their History
603:
and practice, and a strong link between work songs and activism developed in the USA and elsewhere. The "dustbowl balladeer"
1113:
47:
608:
69:
When defining work songs, most modern commentators include songs that are sung while working, as well as songs that are
1339:
1155:
1076:
1032:
248:
232:
930:
Jackson, Gale P., "Rosy, Possum, Morning Star: African American Women's Work and Play Songs": An Excerpt From
611:" and "Talking Hard Work" in the 1940s and 1950s. Guthrie and other politically active performers, especially
186:
is thought to have started out as a harvest song, its words possibly originating from farmers in 15th century
1462:
459:
538:
and were sung between work shifts or in leisure hours, rather than during work. This pattern can be seen in
221:
327:
These long, mournful, antiphonal songs accompanied the work on cotton plantations, under the driver's lash.
751:
560:
This tendency was even more marked in early American industrial songs, where representative heroes like
1684:
932:
Put Your Hands on Your Hips and Act Like a Woman: Song, Dance, Black History and Poetics in Performance
450:
ills with work conditions and captains. These songs were performed with and without the aid of a drum.
31:
17:
859:
561:
509:
1294:
400:
1109:
846:
1068:
713:
from Scotland are a traditional genre performed while women communally beat and felted cloth.
675:
332:
1141:
1601:
1332:
565:
236:
176:
differently each time. Improvisation provided singers with a subversive form of expression.
1689:
521:
240:
8:
1736:
976:
Brooks, Tilford, America's Black Musical Heritage. New Jersey: Prentice-Hall, Inc., 1984.
728:'s "She Works Hard for the Money" is disco/techno and refers to "the oldest profession" (
667:
655:
620:
290:
244:
840:
235:
was the first collection of African-American "slave songs." It was published in 1867 by
1370:
864:
600:
547:
396:
156:
so that hunters could identify each other's locations and the locations of their prey.
1061:
1047:
372:
as an influence on field holler music. Diouf notes a striking resemblance between the
1483:
1151:
1072:
1028:
636:
593:
589:
481:
381:
362:
256:
1679:
1646:
1551:
1424:
1380:
1365:
1325:
906:
The power of Black music: interpreting its history from Africa to the United States
741:
319:
86:
63:
635:
performed work-related songs. Rock performers with working-class leanings such as
1556:
1095:
998:
954:
Black Feminist Thought: Knowledge, Consciousness, and the Politics of Empowerment
384:
377:
623:
in the early 1900s. From that time, most topical and activist singers including
1669:
1641:
1631:
1375:
686:
358:
94:
484:
life in general. Such songs were often accompanied on portable instruments of
1730:
1591:
1518:
1488:
746:
710:
695:
659:
651:
604:
535:
416:
392:
369:
365:
282:
183:
90:
1223:
Continuum Encyclopedia of Popular Music, vol. 1: Media, Industry and Society
1651:
1616:
1611:
1508:
1402:
1397:
1267:
A Race of Singers: Whitman's Working-Class Hero from Guthrie to Springsteen
893:
Ride Out the Wilderness: Geography and Identity in Afro-American Literature
729:
725:
717:
691:
663:
647:
643:
585:
412:
388:
346:
269:
265:
225:
102:
78:
74:
59:
43:
1067:(Third ed.). New York, New York: Norton & Company, Inc. pp.
1715:
1705:
1636:
1576:
1566:
1387:
756:
671:
616:
612:
408:
198:." Farm laborers in Holland at the time received as their wages "as much
142:
118:
114:
1674:
1586:
1561:
1478:
1429:
1407:
1360:
679:
581:
577:
553:
501:
493:
469:
465:
436:
261:
199:
169:
464:
Western music was directly influenced by the folk music traditions of
407:, wavy intonation, and so forth is a heritage of that large region of
1621:
1596:
1513:
1498:
1236:
Peasants into Frenchmen: the modernization of rural France, 1870-1914
1147:
805:
Songs about Work: Essays in Occupational Culture for Richard A. Reuss
632:
628:
624:
497:
277:
82:
1027:(1st ed.). Fulham, London: Flame Tree Publishing. p. 158.
1581:
1493:
1417:
1238:(Stanford University Press, 1976), pp. 431-5 and Simon J. Bronner,
153:
106:
531:
and frequently impossible because of the noise of early industry.
77:, African-American work songs, songs and chants of direction, and
1606:
1571:
1523:
1412:
1392:
1177:
All Music Guide to Country: The Definitive Guide to Country Music
803:
N. Cohen, 'Worksongs: a demonstration of examples', in A. Green,
527:
489:
485:
473:
442:
420:
404:
187:
177:
130:
110:
716:
Some women's work songs have been created within modern genres.
1626:
1104:
477:
165:
126:
122:
98:
568:
were eulogised in blues ballads from the nineteenth century.
1710:
1503:
1452:
1447:
424:
373:
273:
149:
580:(Huddie Ledbetter) was recorded in prison by the folklorist
264:
that developed once Africans in bondage began to convert to
58:
Records of work songs are as old as historical records, and
1530:
1457:
1240:
Folk nation: folklore in the creation of American tradition
721:
172:
1317:
152:
of the Congo, often incorporated distinctive whistles and
1225:(Continuum International Publishing Group, 2003), p. 251.
895:(Published by University of Illinois Press, 1987), p. 12.
619:, continued the Union Songs movement that had begun with
972:
970:
968:
966:
964:
962:
399:. She attributes the origins of field holler music to
959:
948:
946:
944:
879:
University Musical Encyclopedia: A history of music
254:A common feature of African-American songs was the
1253:Long Steel Rail: the Railroad in American Folksong
1060:
908:(Oxford: Oxford University Press US, 1996), p. 50.
27:Piece of music closely connected to a form of work
941:
724:'s "Working Girl" is also an office work anthem.
682:have featured work songs in their performances.
596:("Coal Tattoo") also became fireside standards.
1728:
1212:(London: Lawrence and Wishart, 1967), p. 323-28.
607:wrote and performed work-related songs such as "
337:All You Need is Love: The Story of Popular Music
1171:
1169:
1167:
213:
1333:
1255:(University of Illinois Press, 2000), p. 126.
1175:V. Bogdanov, C. Woodstra and S. T. Erlewine.
829:(London: Taylor & Francis, 2004), p. 520.
136:
53:
1204:
1202:
1200:
1198:
1164:
807:(Indiana University Press, 1993), pp. 334-5.
698:passed the tradition to a broader audience.
773:
771:
387:in the early 7th century) and 19th-century
1340:
1326:
1273:
1135:
1133:
1131:
821:
819:
817:
815:
813:
222:African-American music § 18th century
159:
1242:(Rowman & Littlefield, 2002), p. 142.
1195:
1090:
1088:
999:PBS site on the history of jazz available
1058:
1022:
768:
639:have also been influenced by the genre.
1292:
1190:Cowboy Songs and Other Frontier Ballads
1143:Routledge Handbook of Islam in the West
1139:
1128:
1063:The Music of Black Americans: A History
832:
810:
515:
506:Cowboy Songs and Other Frontier Ballads
14:
1729:
1264:
1094:
1085:
870:
1321:
1269:. University of North Carolina Press.
1025:The Illustrated Encyclopedia of Music
1016:
1013:(Duke University Press, 2006), p. 46.
989:(Duke University Press, 2006), p. 55.
876:
838:
794:(Duke University Press, 2006), p. xi.
705:
845:. Burrows Brothers Company. p.
206:) as they could drink, and a tenth (
148:Hunting songs, such as those of the
1293:Gregory, Mark (15 September 2012).
599:The working class was glorified in
298:All them pretty gals will be there,
24:
1283:(Ashgate, Aldershot, 2003), p. 64.
1281:The British Folk Revival 1944-2002
720:'s "Nine to Five" is pop country,
411:that had been in contact with the
164:Most agricultural work songs were
25:
1748:
827:African Folklore: An Encyclopedia
310:I think I smell a fine roast pig,
249:African-American women work songs
48:I've Been Working on the Railroad
1192:(1910, BiblioBazaar, LLC, 2009).
312:Shuck that corn before you eat.
233:Slave Songs of the United States
141:In societies without mechanical
1286:
1258:
1245:
1228:
1215:
1182:
1179:(Backbeat Books, 2003), p. 901.
1052:
1041:
1003:
992:
979:
924:
911:
571:
453:
430:
308:Shuck that corn before you eat;
306:I know that supper will be big,
304:Shuck that corn before you eat.
300:Shuck that corn before you eat;
293:'s memoir " My Southern Home."
898:
885:
853:
797:
784:
781:(Duke University Press, 2006).
13:
1:
877:Elson, Louis Charles (1912).
762:
460:Western music (North America)
302:They will fix it for us rare,
133:songs and modern work songs.
956:. New York: Routledge, 2000.
839:Banks, Louis Albert (1898).
62:evidence suggests that most
7:
1347:
1295:"A short history of a song"
1100:"Muslim Roots of the Blues"
735:
214:African-American work songs
10:
1753:
1685:Sound reinforcement system
1545:Concepts · Techniques
938:Vol. 46(8), 2015: 773–796.
921:(Greenwood, 2004), p. 278.
881:. Vol. 2. p. 82.
825:P. M. Peek and K. Yankah,
519:
457:
434:
219:
137:Hunting and pastoral songs
54:Definitions and categories
32:Work song (disambiguation)
29:
1698:
1660:
1544:
1471:
1440:
1353:
1140:Tottoli, Roberto (2014).
1059:Southern, Eileen (1983).
510:country and western music
952:Hill Collins, Patricia.
936:Journal of Black Studies
752:The Volga Boatmen's Song
1251:N. Cohen and D. Cohen,
1110:San Francisco Chronicle
1023:Du Noyer, Paul (2003).
268:and from there to both
160:Agricultural work songs
374:Islamic call to prayer
342:
324:
919:The Antebellum Period
588:("Sixteen Tons" and "
401:African Muslim slaves
325:
295:
237:William Francis Allen
220:Further information:
1472:Voice classification
1265:Garman, B K (2000).
1210:Folk song in England
1116:on September 5, 2005
522:Industrial folk song
516:Industrial folk song
241:Charles Pickard Ware
66:tend to have them.
30:For other uses, see
1536:Non-classical music
1441:Forms · Genres
1098:(August 15, 2004).
860:Yankee Doodle Dandy
656:Fairport Convention
476:that characterised
291:William Wells Brown
245:Lucy McKim Garrison
1371:Extended technique
865:The New York Times
706:Women's work songs
540:textile production
376:(originating from
64:agrarian societies
1724:
1723:
1302:Radical Newcastle
637:Bruce Springsteen
594:Billy Edd Wheeler
590:Dark as a Dungeon
363:ethnomusicologist
257:call-and-response
210:) of the grain".
46:. An example is "
16:(Redirected from
1744:
1680:Pitch correction
1647:Vocal resonation
1425:Vocal percussion
1381:Overtone singing
1366:Bathroom singing
1342:
1335:
1328:
1319:
1318:
1313:
1312:
1310:
1308:
1299:
1290:
1284:
1277:
1271:
1270:
1262:
1256:
1249:
1243:
1232:
1226:
1219:
1213:
1206:
1193:
1186:
1180:
1173:
1162:
1161:
1137:
1126:
1125:
1123:
1121:
1112:. Archived from
1096:Curiel, Jonathan
1092:
1083:
1082:
1066:
1056:
1050:
1048:Arts.state.al.us
1045:
1039:
1038:
1020:
1014:
1007:
1001:
996:
990:
983:
977:
974:
957:
950:
939:
928:
922:
915:
909:
902:
896:
889:
883:
882:
874:
868:
857:
851:
850:
836:
830:
823:
808:
801:
795:
788:
782:
775:
742:Military cadence
340:
322:
320:Antebellum South
129:. He also added
21:
1752:
1751:
1747:
1746:
1745:
1743:
1742:
1741:
1727:
1726:
1725:
1720:
1694:
1690:Monitor speaker
1663:(popular music)
1662:
1661:Sound equipment
1656:
1540:
1467:
1436:
1349:
1346:
1316:
1306:
1304:
1297:
1291:
1287:
1278:
1274:
1263:
1259:
1250:
1246:
1233:
1229:
1220:
1216:
1207:
1196:
1187:
1183:
1174:
1165:
1158:
1150:. p. 322.
1138:
1129:
1119:
1117:
1093:
1086:
1079:
1057:
1053:
1046:
1042:
1035:
1021:
1017:
1008:
1004:
997:
993:
984:
980:
975:
960:
951:
942:
929:
925:
916:
912:
903:
899:
890:
886:
875:
871:
858:
854:
837:
833:
824:
811:
802:
798:
789:
785:
776:
769:
765:
738:
708:
574:
524:
518:
462:
456:
447:call-and-answer
439:
433:
378:Bilal ibn Rabah
341:
331:
323:
317:
314:
311:
309:
307:
305:
303:
301:
299:
228:
216:
178:Enslaved people
162:
139:
95:factory workers
60:anthropological
56:
35:
28:
23:
22:
15:
12:
11:
5:
1750:
1740:
1739:
1722:
1721:
1719:
1718:
1713:
1708:
1702:
1700:
1696:
1695:
1693:
1692:
1687:
1682:
1677:
1672:
1670:In-ear monitor
1666:
1664:
1658:
1657:
1655:
1654:
1649:
1644:
1642:Vocal register
1639:
1634:
1632:Vocal pedagogy
1629:
1624:
1619:
1614:
1609:
1604:
1599:
1594:
1589:
1584:
1579:
1574:
1569:
1564:
1559:
1554:
1548:
1546:
1542:
1541:
1539:
1538:
1533:
1528:
1527:
1526:
1521:
1516:
1511:
1506:
1501:
1496:
1491:
1486:
1475:
1473:
1469:
1468:
1466:
1465:
1460:
1455:
1450:
1444:
1442:
1438:
1437:
1435:
1434:
1433:
1432:
1422:
1421:
1420:
1415:
1405:
1400:
1395:
1390:
1385:
1384:
1383:
1378:
1376:Throat singing
1368:
1363:
1357:
1355:
1351:
1350:
1345:
1344:
1337:
1330:
1322:
1315:
1314:
1285:
1272:
1257:
1244:
1227:
1214:
1194:
1181:
1163:
1156:
1127:
1084:
1077:
1051:
1040:
1033:
1015:
1002:
991:
978:
958:
940:
923:
910:
897:
884:
869:
852:
831:
809:
796:
783:
766:
764:
761:
760:
759:
754:
749:
744:
737:
734:
711:Waulking songs
707:
704:
687:Dorothy Hewett
601:Marxist theory
576:In the 1930s,
573:
570:
520:Main article:
517:
514:
458:Main article:
455:
452:
435:Main article:
432:
429:
393:musical scales
385:African Muslim
359:Sylviane Diouf
357:The historian
329:
318:Slaves in the
315:
296:
215:
212:
161:
158:
138:
135:
55:
52:
26:
9:
6:
4:
3:
2:
1749:
1738:
1735:
1734:
1732:
1717:
1714:
1712:
1709:
1707:
1704:
1703:
1701:
1699:Miscellaneous
1697:
1691:
1688:
1686:
1683:
1681:
1678:
1676:
1673:
1671:
1668:
1667:
1665:
1659:
1653:
1650:
1648:
1645:
1643:
1640:
1638:
1635:
1633:
1630:
1628:
1625:
1623:
1620:
1618:
1615:
1613:
1610:
1608:
1605:
1603:
1600:
1598:
1595:
1593:
1590:
1588:
1585:
1583:
1580:
1578:
1575:
1573:
1570:
1568:
1565:
1563:
1560:
1558:
1555:
1553:
1552:Backup vocals
1550:
1549:
1547:
1543:
1537:
1534:
1532:
1529:
1525:
1522:
1520:
1519:Mezzo-soprano
1517:
1515:
1512:
1510:
1507:
1505:
1502:
1500:
1497:
1495:
1492:
1490:
1489:Bass-baritone
1487:
1485:
1482:
1481:
1480:
1477:
1476:
1474:
1470:
1464:
1461:
1459:
1456:
1454:
1451:
1449:
1446:
1445:
1443:
1439:
1431:
1428:
1427:
1426:
1423:
1419:
1416:
1414:
1411:
1410:
1409:
1406:
1404:
1401:
1399:
1396:
1394:
1391:
1389:
1386:
1382:
1379:
1377:
1374:
1373:
1372:
1369:
1367:
1364:
1362:
1359:
1358:
1356:
1354:Singing types
1352:
1343:
1338:
1336:
1331:
1329:
1324:
1323:
1320:
1303:
1296:
1289:
1282:
1276:
1268:
1261:
1254:
1248:
1241:
1237:
1234:E. J. Weber,
1231:
1224:
1221:J. Shepherd,
1218:
1211:
1208:A. L. Lloyd,
1205:
1203:
1201:
1199:
1191:
1188:J. A. Lomax,
1185:
1178:
1172:
1170:
1168:
1159:
1157:9781317744023
1153:
1149:
1145:
1144:
1136:
1134:
1132:
1115:
1111:
1107:
1106:
1101:
1097:
1091:
1089:
1080:
1078:9780393952797
1074:
1070:
1065:
1064:
1055:
1049:
1044:
1036:
1034:1-904041-96-5
1030:
1026:
1019:
1012:
1006:
1000:
995:
988:
982:
973:
971:
969:
967:
965:
963:
955:
949:
947:
945:
937:
933:
927:
920:
914:
907:
904:S. A. Floyd,
901:
894:
888:
880:
873:
867:
866:
861:
856:
848:
844:
843:
835:
828:
822:
820:
818:
816:
814:
806:
800:
793:
787:
780:
774:
772:
767:
758:
755:
753:
750:
748:
747:Waulking song
745:
743:
740:
739:
733:
731:
727:
723:
719:
714:
712:
703:
699:
697:
693:
688:
683:
681:
677:
673:
669:
665:
661:
660:The Watersons
657:
653:
652:Steeleye Span
649:
645:
640:
638:
634:
630:
626:
622:
618:
614:
610:
606:
605:Woody Guthrie
602:
597:
595:
591:
587:
583:
579:
569:
567:
563:
558:
555:
551:
549:
545:
541:
537:
536:protest songs
532:
529:
523:
513:
511:
507:
503:
499:
495:
491:
487:
483:
479:
475:
471:
467:
461:
451:
448:
444:
438:
428:
426:
422:
418:
417:Islamic world
414:
410:
406:
402:
398:
394:
390:
386:
383:
379:
375:
371:
370:Islamic music
367:
366:Gerhard Kubik
364:
360:
355:
351:
348:
338:
334:
328:
321:
313:
294:
292:
286:
284:
283:field hollers
279:
275:
271:
267:
263:
259:
258:
252:
250:
246:
242:
238:
234:
227:
223:
218:
211:
209:
205:
201:
197:
193:
189:
185:
184:Yankee Doodle
181:
179:
174:
171:
167:
157:
155:
151:
146:
144:
134:
132:
128:
124:
120:
116:
112:
108:
104:
100:
96:
92:
91:Waulking song
88:
87:cloth workers
84:
80:
76:
72:
67:
65:
61:
51:
49:
45:
40:
33:
19:
1652:Vocal weight
1617:Sprechgesang
1612:Scat singing
1509:Countertenor
1403:Sign singing
1398:Scat singing
1307:20 September
1305:. Retrieved
1301:
1288:
1280:
1279:M. Brocken,
1275:
1266:
1260:
1252:
1247:
1239:
1235:
1230:
1222:
1217:
1209:
1189:
1184:
1176:
1142:
1118:. Retrieved
1114:the original
1103:
1062:
1054:
1043:
1024:
1018:
1010:
1005:
994:
986:
981:
953:
935:
931:
926:
918:
917:D. D. Volo,
913:
905:
900:
892:
887:
878:
872:
863:
855:
841:
834:
826:
804:
799:
791:
786:
778:
730:prostitution
726:Donna Summer
718:Dolly Parton
715:
709:
700:
692:Midnight Oil
684:
668:Capercaillie
664:Dick Gaughan
648:Peggy Seeger
644:Ewan MacColl
642:In Britain,
641:
598:
586:Merle Travis
575:
572:Folk revival
559:
552:
533:
525:
505:
463:
454:Cowboy songs
446:
440:
431:Sea shanties
395:, and nasal
389:field holler
356:
352:
347:gandy dancer
343:
336:
326:
297:
287:
270:gospel music
266:Christianity
255:
253:
229:
226:Field holler
217:
207:
203:
195:
191:
182:
163:
147:
140:
115:electricians
103:longshoremen
79:street cries
75:sea shanties
70:
68:
57:
44:protest song
38:
36:
1716:Vocal coach
1706:Vocal music
1637:Vocal range
1592:Lead vocals
1577:Death growl
1567:Chest voice
1388:Oversinging
757:Gandydancer
690:bands like
676:James Fagan
672:Billy Bragg
617:Pete Seeger
613:the Weavers
562:Casey Jones
544:Saint-Simon
409:West Africa
380:, a famous
333:Tony Palmer
143:timekeeping
119:lumberjacks
1737:Work music
1675:Microphone
1587:Head voice
1562:Coloratura
1479:Voice type
1430:Beatboxing
1408:Sing-along
1361:A cappella
1120:August 24,
1011:Work Songs
1009:E. Gioia,
987:Work Songs
985:E. Gioia,
891:M. Dixon,
792:Work Songs
790:E. Gioia,
779:Work Songs
777:E. Gioia,
763:References
680:Nancy Kerr
582:Alan Lomax
578:Lead Belly
566:John Henry
554:A.L. Lloyd
502:John Lomax
494:concertina
470:loneliness
466:immigrants
437:Sea shanty
397:intonation
382:Abyssinian
262:spirituals
200:buttermilk
170:a cappella
18:Work songs
1622:Tessitura
1597:Passaggio
1514:Contralto
1499:Baritenor
1148:Routledge
633:Phil Ochs
629:Bob Dylan
625:Joan Baez
548:Civil War
498:harmonica
480:life and
368:identify
278:polyphony
204:Botermilk
192:Botermilk
107:mechanics
83:Ted Gioia
39:work song
1731:Category
1582:Falsetto
1572:Crooning
1494:Baritone
1463:Vocables
1418:Lip sync
736:See also
621:Joe Hill
609:Deportee
330:—
316:—
272:and the
166:rhythmic
131:prisoner
111:plumbers
1607:Rapping
1602:Quintus
1557:Belting
1524:Soprano
1413:Karaoke
1393:Rapping
1348:Singing
592:") and
528:ballads
490:fiddles
486:guitars
482:western
474:boredom
443:rigging
421:Maghreb
419:of the
405:melisma
208:tanther
196:tanther
188:Holland
123:cowboys
1627:Timbre
1448:Choral
1154:
1105:SFGate
1075:
1071:–165.
1031:
696:Goanna
478:cowboy
413:Arabic
243:, and
224:, and
154:yodels
127:miners
99:seamen
1711:Choir
1504:Tenor
1453:Opera
1298:(PDF)
615:with
425:Sahel
274:blues
173:songs
150:Mbuti
89:(see
71:about
1531:Fach
1484:Bass
1458:Lied
1309:2022
1152:ISBN
1122:2005
1073:ISBN
1029:ISBN
722:Cher
694:and
678:and
646:and
631:and
564:and
496:and
472:and
361:and
194:und
125:and
1069:161
732:).
504:'s
93:),
50:".
1733::
1300:.
1197:^
1166:^
1146:.
1130:^
1108:.
1102:.
1087:^
961:^
943:^
934:.
862:,
847:44
812:^
770:^
674:,
670:,
666:,
662:,
658:,
654:,
627:,
550:.
512:.
492:,
488:,
427:.
335:,
239:,
168:,
121:,
117:,
113:,
109:,
105:,
101:,
97:,
81:.
37:A
1341:e
1334:t
1327:v
1311:.
1160:.
1124:.
1081:.
1037:.
849:.
415:-
339:.
202:(
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.