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Folk for Art's Sake: English Folk Music in the Mainstream Milieu
Volume 4 (2009) ISSN 1751-7788 Folk for Art’s Sake: English Folk Music in the Mainstream Milieu Simon Keegan-Phipps University of Sheffield The English folk arts are currently undergoing a considerable resurgence; 1 practices of folk music, dance and drama that explicitly identify themselves as English are the subjects of increasing public interest throughout England. The past five years have seen a manifold increase in the number of professional musical acts that foreground their Englishness; for the first time since the last 'revival period' of the 1950s and 60s, it is easier for folk music agents to secure bookings for these English acts in England than Scottish and Irish (Celtic) bands. Folk festivals in England are experiencing greatly increased popularity, and the profile of the genre has also grown substantially beyond the boundaries of the conventional 'folk scene' contexts: Seth Lakeman received a Mercury Music Awards nomination in 2006 for his album Kitty Jay; Jim Moray supported Will Young’s 2003 UK tour, and his album Sweet England appeared in the Independent’s ‘Cult Classics’ series in 2007; in 2003, the morris side Dogrose Morris appeared on the popular television music show Later with Jools Holland, accompanied by the high-profile fiddler, Eliza Carthy;1 and all-star festival-headliners Bellowhead appeared on the same show in 2006.2 However, the expansion in the profile and presence of English folk music has 2 not been confined to the realms of vernacular, popular culture: On 20 July 2008, BBC Radio 3 hosted the BBC Proms -
Representation Through Music in a Non-Parliamentary Nation
MEDIANZ ! VOL 15, NO 1 ! 2015 DOI: 10.11157/medianz-vol15iss1id8 - ARTICLE - Re-Establishing Britishness / Englishness: Representation Through Music in a non-Parliamentary Nation Robert Burns Abstract The absence of a contemporary English identity distinct from right wing political elements has reinforced negative and apathetic perceptions of English folk culture and tradition among populist media. Negative perceptions such as these have to some extent been countered by the emergence of a post–progressive rock–orientated English folk–protest style that has enabled new folk music fusions to establish themselves in a populist performance medium that attracts a new folk audience. In this way, English politicised folk music has facilitated an English cultural identity that is distinct from negative social and political connotations. A significant contemporary national identity for British folk music in general therefore can be found in contemporary English folk as it is presented in a homogenous mix of popular and world music styles, despite a struggle both for and against European identity as the United Kingdom debates ‘Brexit’, the current term for its possible departure from the EU. My mother was half English and I'm half English too I'm a great big bundle of culture tied up in the red, white and blue (Billy Bragg and the Blokes 2002). When the singer and songwriter, Billy Bragg wrote the above song, England, Half English, a friend asked him whether he was being ironic. He replied ‘Do you know what, I’m not’, a statement which shocked his friends. Bragg is a social commentator, political activist and staunch socialist who is proudly English and an outspoken anti–racist, which his opponents may see as arguably diametrically opposed combination. -
Alumnews2007
C o l l e g e o f L e t t e r s & S c i e n c e U n i v e r s i t y D EPARTMENT o f o f C a l i f o r n i a B e r k e l e y MUSIC IN THIS ISSUE Alumni Newsletter S e p t e m b e r 2 0 0 7 1–2 Special Occasions Special Occasions CELEBRATIONS 2–4 Events, Visitors, Alumni n November 8, 2006, the department honored emeritus professor Andrew Imbrie in the year of his 85th birthday 4 Faculty Awards Owith a noon concert in Hertz Hall. Alumna Rae Imamura and world-famous Japanese pianist Aki Takahashi performed pieces by Imbrie, including the world premiere of a solo piano piece that 5–6 Faculty Update he wrote for his son, as well as compositions by former Imbrie Aki Takahashi performss in Hertz Hall student, alumna Hi Kyung Kim (professor of music at UC Santa to honor Andrew Imbrie. 7 Striggio Mass of 1567 Cruz), and composers Toru Takemitsu and Michio Mamiya, with whom Imbrie connected in “his Japan years.” The concert was followed by a lunch in Imbrie’s honor in Hertz Hall’s Green Room. 7–8 Retirements Andrew Imbrie was a distinguished and award-winning member of the Berkeley faculty from 1949 until his retirement in 1991. His works include five string quartets, three symphonies, numerous concerti, many works for chamber ensembles, solo instruments, piano, and chorus. His opera Angle of 8–9 In Memoriam Repose, based on Wallace Stegner’s book, was premeiered by the San Francisco Opera in 1976. -
Dissertation Final Submission Andy Hillhouse
TOURING AS SOCIAL PRACTICE: TRANSNATIONAL FESTIVALS, PERSONALIZED NETWORKS, AND NEW FOLK MUSIC SENSIBILITIES by Andrew Neil Hillhouse A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Music University of Toronto © Copyright by Andrew Neil Hillhouse (2013) ABSTRACT Touring as Social Practice: Transnational Festivals, Personalized Networks, and New Folk Music Sensibilities Andrew Neil Hillhouse Doctor of Philosophy Graduate Department of Music University of Toronto 2013 The aim of this dissertation is to contribute to an understanding of the changing relationship between collectivist ideals and individualism within dispersed, transnational, and heterogeneous cultural spaces. I focus on musicians working in professional folk music, a field that has strong, historic associations with collectivism. This field consists of folk festivals, music camps, and other venues at which musicians from a range of countries, affiliated with broad labels such as ‘Celtic,’ ‘Nordic,’ ‘bluegrass,’ or ‘fiddle music,’ interact. Various collaborative connections emerge from such encounters, creating socio-musical networks that cross boundaries of genre, region, and nation. These interactions create a social space that has received little attention in ethnomusicology. While there is an emerging body of literature devoted to specific folk festivals in the context of globalization, few studies have examined the relationship between the transnational character of this circuit and the changing sensibilities, music, and social networks of particular musicians who make a living on it. To this end, I examine the career trajectories of three interrelated musicians who have worked in folk music: the late Canadian fiddler Oliver Schroer (1956-2008), the ii Irish flute player Nuala Kennedy, and the Italian organetto player Filippo Gambetta. -
English Singalong Folksongs VOLUME 1
The Best English Singalong Folksongs VOLUME 1 Contents of Book and CDs The Best CD1 CD2 EENNGGLLIISSHH 1. A-Beggin’ I Will Go 1. The Knocker Upper Man 2. The Ballad of Seth Davy 2. The Lancashire Lads 3. Bedlam Boys 3. The Leaving of Liverpool SSIINNGGAALLOONNGG 4. The Bolinder Boatman 4. A Miner’s Life 5. Byker Hill 5. New York Girls 6. The Calico Printer’s Clerk 6. The Prickly Bush FFOOLLKKSSOONNGGSS 7. Cholera Camp 7. The Red Barn 8. Cold & Haily Night 8. Rose of Allendale VOLUME 1 9. Flash Companie 9. Way Down To Lamorna 10. Green To Grey 10. The Whitby Maid 11. High Germany 11. Yarmouth Town Publisher: PhilDrane Music PO Box 20275, Glen Eden, Auckland 0641, New Zealand www.phildrane.com Content: Phil Drane Traditional and Contemporary Contact: [email protected] Folksongs of England includes lyrics, song bios, musical notation & 2 CDs Page 48 Foreword Yarmouth Town 1. In Yarmouth Town there lived a man This is the first in what I hope will be a series of books and CDs featuring He had a tavern all by the strand The landlord he had a daughter fair English traditional and contemporary folksongs – songs composed by A plump little thing with golden hair ordinary English people about ordinary English people, past and present. Chorus: Oh, won't you come down, Won't you come down, A nation’s folk-heritage or folk-culture is worthless if the people to Won't you come down To Yarmouth town. Oh, won't you come down, Won't you come down, whom it belongs are not able to celebrate it freely. -
Paradigmatic of Folk Music Tradition?
‘Fiddlers’ Tunebooks’ - Vernacular Instrumental Manuscript Sources 1860-c1880: Paradigmatic of Folk Music Tradition? By: Rebecca Emma Dellow A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music June 2018 2 Abstract Fiddlers’ Tunebooks are handwritten manuscript books preserving remnants of a largely amateur, monophonic, instrumental practice. These sources are vastly under- explored academically, reflecting a wider omission in scholarship of instrumental music participated in by ‘ordinary’ people in nineteenth-century England. The tunebooks generate interest amongst current folk music enthusiasts, and as such can be subject to a “burden of expectation”,1 in the belief that they represent folk music tradition. Yet both the concepts of tradition and folk music are problematic. By considering folk music from both an inherited perspective and a modern scholarly interpretation, this thesis examines the place of the tunebooks in notions of English folk music tradition. A historical musicological methodology is applied to three post-1850 case-study manuscripts drawing specifically on source studies, archival research and quantitative analysis. The study explores compilers’ demographic traits and examines content, establishing the existence of a heterogeneous repertoire copied from contemporary textual sources directly into the tunebooks. This raises important questions regarding the role played by publishers and the concept of continuous survival in notions of tradition. A significant finding reveals the interaction between aural and literate practices, having important implications in the inward and outward transmission and in wider historical application. The function of both the manuscripts and the musical practice is explored and the compilers’ acquisition of skill and sources is examined. -
A. L. Lloyd and the English Folk Song Revival, 1934-44
A. L. Lloyd and the English Folk Song Revival, 1934-44 E. David Gregory Abstract: E. David Gregory outlines the genesis and contents of A.L. Lloyd's 194-4 history of English folk song, The Singing Englishman. Focusing on Lloyd's working-class childhood, subsequent jobs in Australia, London and Antarctica, contact with A.L. Morton, studies at the British Museum, leftist journalism, and BBC broadcasts, Gregory counters criticisms of Lloyd's writings by Maud Karpeles and Vic Gammon and demonstrates Lloyd's importance for the post-1945 Revival. It is now 30 years since the publication of A.L. ship.... The project was doomed to failure" (1986: Lloyd's magnum opus, Folk Song in England (1967). 151). However, the jury is not yet in on this Although currently out of print, the book remains the controversy. Indeed, Lloyd blended a Marxist most systematic survey of English traditional song, approach to cultural history with Cecil Sharp's and the most detailed account of its evolution from analysis of folksong melody and oral tradition. But the 14th century to the 20th. Essentially, Lloyd this approach was not necessarily doomed to failure. broadened, in a legitimate and necessary way, Cecil Sharp's conception of folk music as a product of oral Gammon premises his critique of Folk Song in tradition. Lloyd recognized urban and rural song England's methodology on his dismissal of Cecil traditions, and explicitly extended the study of Sharp's legacy as a middle-class misappropriation traditional music to include ritual songs, carols, sea of working-class music, a perspective apparently songs, industrial songs and political songs. -
Current Directions in Ecomusicology
Current Directions in Ecomusicology This volume is the first sustained examination of the complex perspectives that comprise ecomusicology—the study of the intersections of music/sound, culture/society, and nature/environment. Twenty-two authors provide a range of theoretical, methodological, and empirical chapters representing disciplines such as anthropology, biology, ecology, environmental studies, ethnomusicology, history, literature, musicology, performance studies, and psychology. They bring their specialized training to bear on interdisciplin- ary topics, both individually and in collaboration. Emerging from the whole is a view of ecomusicology as a field, a place where many disciplines come together. The topics addressed in this volume—contemporary composers and traditional musics, acoustic ecology and politicized soundscapes, mate- rial sustainability and environmental crisis, familiar and unfamiliar sounds, local places and global warming, birds and mice, hearing and listening, bio- music and soundscape ecology, and more—engage with conversations in the various realms of music study as well as in environmental studies and cultural studies. As with any healthy ecosystem, the field of ecomusicol- ogy is dynamic, but this edited collection provides a snapshot of it in a formative period. Each chapter is short, designed to be accessible to the non- specialist, and includes extensive bibliographies; some chapters also provide further materials on a companion website. An introduction and interspersed editorial summaries help guide readers through four current directions— ecological, fieldwork, critical, and textual—in the field of ecomusicology. Aaron S. Allen is Associate Professor of Musicology at the University of North Carolina at Greensboro, USA, where he is also director of the Envi- ronmental and Sustainability Studies Program. -
Folk Music: a Resource for Creative Music-Making Key Stages 3 & 4
Folk Music: A resource for creative music-making Key Stages 3 & 4 By Rob Harbron Unlocking hidden treasures of England’s cultural heritage Explore | Discover | Take Part The Full English The Full English was a unique nationwide project unlocking hidden treasures of England’s cultural heritage by making over 58,000 original source documents from 12 major folk collectors available to the world via a ground-breaking nationwide digital archive and learning project. The project was led by the English Folk Dance and Song Society (EFDSS), funded by the Heritage Lottery Fund and in partnership with other cultural partners across England. The Full English digital archive (www.vwml.org) continues to provide access to thousands of records detailing traditional folk songs, music, dances, customs and traditions that were collected from across the country. Some of these are known widely, others have lain dormant in notebooks and files within archives for decades. The Full English learning programme worked across the country in 19 different schools including primary, secondary and special educational needs settings. It also worked with a range of cultural partners across England, organising community, family and adult learning events. Supported by the National Lottery through the Heritage Lottery Fund, the National Folk Music Fund and The Folklore Society. Produced by the English Folk Dance and Song Society (EFDSS), June 2014 Written by: Rob Harbron Edited by: Frances Watt Copyright © English Folk Dance and Song Society and Rob Harbron, 2014 Permission is granted to make copies of this material for non-commercial educational purposes. Permission must be sought from EFDSS for any other use of this material. -
The Second English Folk Revival, C. 1945-1970 Julia Yvonne Mitchell
Subterranean Bourgeois Blues: The Second English Folk Revival, c. 1945-1970 Julia Yvonne Mitchell UCL This thesis is submitted for the degree of PhD. 2 I, Julia Yvonne Mitchell, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Abstract This thesis explores the folk revival phenomenon in England, through an original examination of its place in the social and political history of the country after the Second World War. Although its roots stretched back to the early twentieth century, the post- war English folk revival significantly occurred in the context of the nation’s de- industrialisation, and exposed tensions between, on the one hand, a nostalgic lament for a fast-disappearing working class life, and a ‘forward-looking’ socialist vision of working-class culture. The original contribution to knowledge of this project lies in its analytic approach to the English folk revival as an important part of the post-war political culture. It looks at the revival from the outside in, and contextualizes the movement in the social and political story of post-war England, while also placing it within a dynamic transnational framework, a complex cross-Atlantic cultural exchange with its more well-known American contemporary. In so doing, this thesis contributes to the existing historiographies of folk revivalism in England, as well as the social and political historiographical discourses of the postwar period: the continued salience of class in English society; the transformation of the nation’s economic infrastructures; the social and political influence of the Welfare State – the folk revival tapped into all of these overlapping strands, and helped to magnify them. -
Transatlantic Troubadours: Pete Seeger, John Hasted and The
Transatlantic Troubadours: Pete Seeger,John Hastedand the English Folk SongRevival E. David Gregory When Pete Seegerset foot on British soil in October 1961 mind his goal of making music like the Almanac Singers'. for a month-longtour of English and Scottishfolk clubs, he was Through the WMA he eventually encountereda kindred spirit, alreadya legend. Knowing the affection and admiration felt for fellow Party memberand folklorist A. L. (Bert) Lloyd. Hasted Petethroughout the London folk music community, Bruce Dun- later recalledthat on meeting Lloyd he casuallyasked him if he net, managerof Ewan MacCol1 and Peggy Seeger'sSingers' wanted to start an Almanac-stylegroup in England. To his as- Club, took the gamble of booking the 5,00> seat Royal Albert tonishment, Bert's normally high-pitched and squeaky voice Hall for a farewell concert. It was the first time a folk singer droppedabout an octaveand he replied very quietly, "Passion- had appearedat that most prestigious of venues. If anything, ately".2 Pete was even more popular in Britain than in his native USA, This was the encouragementHasted needed. But there was where he was still fighting a prolonged legal battle with the a problem. Where on earth could you get a folk guitar in Lon- House Un-American Activities Committee. He chose a good don in the late forties, let alone a long-neckedbanjo? And even time to visit Britain. The (second)folk song revival had just if you did find the right instruments, how could you learn to enteredits boom phase,and "the movement" (as it was some- play them? This is how Hasted describedthe situation in his times called) had a mass following at long last. -
Cecil Sharp SG Prelims 30/5/03 6:31 Pm Page Iii
SG prelims 30/5/03 6:31 pm Page i Cecil Sharp SG prelims 30/5/03 6:31 pm Page iii Still Growing iii SG prelims 30/5/03 6:31 pm Page v Still Growing English Traditional Songs and Singers from the Cecil Sharp Collection Compiled and edited by Steve Roud, Eddie Upton and Malcolm Taylor Additional research by Bob and Jacqueline Patten Introduction by Vic Gammon Select Bibliography by David Atkinson Published by The English Folk Dance & Song Society in association with Folk South West 2003 SG prelims 30/5/03 6:31 pm Page vi Published by the English Folk Dance & Song Society in association with Folk South West EFDSS, Cecil Sharp House, 2 Regent’s Park Road, London, NW1 7AY, United Kingdom Copyright ©The English Folk Dance & Song Society 2003 First published 2003 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of The English Folk Dance & Song Society, or as expressly permitted by law, or under terms agreed with the appropriate reprographic rights organisation. Enquiries concerning reproduction outside the scope of the above should be addressed to the EFDSS at the address above This book must not be circulated in any other binding or cover and this same condition must be imposed on any acquirer British Library Cataloguing in Publication Data Data available ISBN 0 85418 187 3 1 3 5 7 9 10 8 6 4 2 Typeset in Minion by Rockford Graphics Publishing Consultants Nigel Lynn Publishing & Marketing Ltd Printed in the United