Folk music of England refers to various types of traditionally based music, often contrasted with courtly, classical and later commercial music, for which evidence exists from the later medieval period. It has been preserved and transmitted orally, through print and later through recordings. The term is used to refer to English traditional music and music composed, or delivered, in a traditional style. English folk music has produced or contributed to several important musical genres, including sea shanties, jigs, hornpipes and dance music, such as that used for Morris dancing. It can be seen as having distinct regional and local variations in content and style, particularly in areas more removed from the cultural and political centres of the English state, as in Northumbria, or the West Country. Cultural interchange and processes of migration mean that English folk music, although in many ways distinctive, has particularly interacted with the music of Scotland, Ireland and Wales. It has also interacted with other musical traditions, particularly classical and rock music, influencing musical styles and producing musical fusions, such as electric folk, folk punk and folk metal. There remains a flourishing sub-culture of English folk music, which continues to influence other genres and occasionally to gain mainstream attention.
Read more about Folk Music Of England: Folk Clubs, Folk Music and The Radio, Folk Festivals
Famous quotes containing the words folk, music and/or england:
“Myths, as compared with folk tales, are usually in a special category of seriousness: they are believed to have “really happened,” or to have some exceptional significance in explaining certain features of life, such as ritual. Again, whereas folk tales simply interchange motifs and develop variants, myths show an odd tendency to stick together and build up bigger structures. We have creation myths, fall and flood myths, metamorphose and dying-god myths.”
—Northrop Frye (1912–1991)
“The music of an unhappy people, of the children of disappointment; they tell of death and suffering and unvoiced longing toward a truer world, of misty wanderings and hidden ways.”
—W.E.B. (William Edward Burghardt)
“The next Augustan age will dawn on the other side of the Atlantic. There will, perhaps, be a Thucydides at Boston, a Xenophon at New York, and, in time, a Virgil at Mexico, and a Newton at Peru. At last, some curious traveller from Lima will visit England and give a description of the ruins of St Paul’s, like the editions of Balbec and Palmyra.”
—Horace Walpole (1717–1797)