English folk music
The folk music of England is a tradition-based music which has existed since the later medieval period. It is often contrasted with courtly, classical and later commercial music. Folk music traditionally was preserved and passed on orally within communities, but print and subsequently audio recordings have since become the primary means of transmission. The term is used to refer both to English traditional music and music composed or delivered in a traditional style.
There are distinct regional and local variations in content and style, particularly in areas more removed from the most prominent English cities, as in Northumbria, or the West Country. Cultural interchange and processes of migration mean that English folk music, although in many ways distinctive, has significant crossovers with the music of Scotland. When English communities migrated to the United States, Canada and Australia, they brought their folk traditions with them, and many of the songs were preserved by immigrant communities.
English folk music has produced or contributed to several cultural phenomena, including sea shanties, jigs, hornpipes and the music for Morris dancing. It has also interacted with other musical traditions, particularly classical and rock music, influencing musical styles and producing musical fusions, such as British folk rock, folk punk and folk metal. There remains a flourishing sub-culture of English folk music, which continues to influence other genres and occasionally gains mainstream attention.
History
Origins
In the strictest sense, English folk music has existed since the arrival of the Anglo-Saxon people in Britain after 400 AD. The Venerable Bede's story of the cattleman and later ecclesiastical musician Cædmon indicates that in the early medieval period it was normal at feasts to pass around the harp and sing 'vain and idle songs'. Since this type of music was rarely notated, we have little knowledge of its form or content. Some later tunes, like those used for Morris dance, may have their origins in this period, but it is impossible to be certain of these relationships. We know from a reference in William Langland's Piers Plowman, that ballads about Robin Hood were being sung from at least the late 14th century and the oldest detailed material we have is Wynkyn de Worde's collection of Robin Hood ballads printed about 1495.16th century to the 18th century
While there was distinct court music, members of the social elite into the 16th century also seem to have enjoyed, and even to have contributed to the music of the people, as Henry VIII perhaps did with the tavern song "Pastime with Good Company". Peter Burke argued that late medieval social elites had their own culture, but were culturally 'amphibious', able to participate in and affect popular traditions.File:Pastime.jpg|thumb|Original score of Pastime with Good Company, held in the British Library, London.|leftIn 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 lute, dulcimer and early forms of the harpsichord, and in form with the development of madrigals, pavanes and galliards. For other social orders, instruments like the pipe, tabor, bagpipe, shawm, hurdy-gurdy, and crumhorn 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 baroque, and in popular song and dance.
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 early collections of printed material, including those published by John Playford as The English Dancing Master, and the private collections of Samuel Pepys and the Roxburghe Ballads collected by Robert Harley, 1st Earl of Oxford and Mortimer. Pepys notably mentioned in his famous diary singing the ballad Barbara Allen on New Year's Eve, 1665, a ballad that survived in the oral tradition well into the twentieth century.
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 Romantic movement, including Thomas D'Urfey's Wit and Mirth: or, Pills to Purge Melancholy and Bishop Thomas Percy's Reliques of Ancient English Poetry. The last of these also contained some oral material and by the end of the 18th century this was becoming increasingly common, with collections including Joseph Ritson's, The Bishopric Garland, which paralleled the work of figures like Robert Burns and Walter Scott in Scotland.It was in this period, too, that English folk music traveled across the Atlantic Ocean and became one of the foundations of American traditional music. In the colonies, it mixed with styles of music brought by other immigrant groups to create a host of new genres. For instance, English ballads, along with Irish, Scottish, and German musical traditions when combined with the African banjo, Afro-American rhythmic traditions and the Afro-American jazz and blues aesthetic led in part to the development of bluegrass and country music.
Early 19th century
With the Industrial Revolution the themes of the music of the labouring classes began to change from rural and agrarian life to include industrial work songs. Awareness that older kinds of song were being abandoned prompted renewed interest in collecting folk songs during the 1830s and 1840s, including the work of William Sandys' Christmas Carols Ancient and Modern, William Chappell, A Collection of National English Airs and Robert Bell's Ancient Poems, Ballads and Songs of the Peasantry of England.Technological change made new instruments available and led to the development of silver and brass bands, 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 Music hall, 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 Lionel Monckton and Sidney Jones created music that reflected new social circumstances.
Folk revivals 1890–1969
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.The first, in the later 19th and early 20th centuries, involved figures including collectors Sabine Baring-Gould, Frank Kidson, Lucy Broadwood, and Anne Gilchrist, centred around the Folk Song Society, founded in 1911. Francis James Child's eight-volume collection The English and Scottish Popular Ballads became the most influential in defining the repertoire of subsequent performers, and Cecil Sharp, founder of the English Folk Dance Society, 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 First World War, and contributed to the creation of the English Pastoral School of classical music which incorporated traditional songs or motifs, as can be seen in the compositions of Percy Grainger, Ralph Vaughan Williams, George Butterworth, Gustav Holst and Frederick Delius. In 1932 the Folk-Song Society and the English Folk Dance Society merged to become the English Folk Dance and Song Society. Some of these revivalists recorded folk songs on wax cylinders, and many of the recordings, including Percy Grainger's collection, are available online courtesy of the Vaughan Williams Memorial Library and the British Library Sound Archive.
The second revival gained momentum after the Second World War, following on from the American folk music revival as new forms of media and American commercial music appeared to pose another threat to traditional music. The key figures were Ewan MacColl and A. L. Lloyd. 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. Topic Records, founded in 1939, provided a major source of folk recordings. The revival resulted in the foundation of a network of folk clubs in major towns, from the 1950s. Major traditional performers included The Watersons, the Ian Campbell Folk Group, and Shirley Collins. The fusing of various styles of American music with English folk also helped to create a distinctive form of guitar fingerstyle known as 'folk baroque', which was pioneered by Davy Graham, Martin Carthy, John Renbourn and Bert Jansch. Several individuals emerged who had learnt the old songs in the oral tradition from their communities and therefore preserved the authentic versions. These people, including Sam Larner, Harry Cox, Fred Jordan, Walter Pardon, Frank Hinchliffe and the Copper Family, released albums of their own and were revered by folk revivalists. Popular folk revival musicians based their works on songs sung by these traditional singers and those collected during the first folk revival.
There are various databases and collections of English folk songs collected during the first and second folk revivals, such as the Roud Folk Song Index, which contains references to 25,000 English language folk songs, and the Vaughan Williams Memorial Library, a multimedia archive of folk-related resources. The British Library Sound Archive contains thousands of recordings of traditional English folk music, including 340 wax cylinder recordings made by Percy Grainger in the early 1900s.