The English Soundtrack

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British folk rock developed in Britain during the mid to late 1960s by the bands Fairport Convention, and Pentangle which built on elements of American folk rock, and on the second British folk revival.

From the current crop of young folk musicians probably the most prominent are Spiers and Boden from Oxfordshire and Chris Wood, born in Kent. 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.The process of fusion between American musical styles and English folk can also be seen as the origin of British progressive folk music, which attempted to elevate folk music through greater musicianship, or compositional and arrangement skills. Finnegan, The Hidden Musicians: Music-Making in an English Town (Middletown, CT: Wesleyan University Press, 2007), pp.

It was not until the second folk revival that the full range of song from the region began to gain attention. Green, Songs about Work: Essays in Occupational Culture (Bloomington, IN: Indiana University Press, 1993), p.C. Irwin,'Power to the people; Aldermaston: The birth of the British protest song", 2008-08-10, 'The Guardian' https://www. S. Lerer, Children's Literature: a Reader's History, from Aesop to Harry Potter (Chicago Il: University of Chicago Press, 2008), pp. 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.

The Jacobite Songs and Ballads of Scotland from 1688 to 1746: With an Appendix of Modern Jacobite Songs (London: R.From the works of Renaissance masters like William Byrd and John Dowland, to the indomitable Edward Elgar and Ralph Vaughan Williams, and modern masters like John Tavener, Errollyn Wallen, Judith Weir and Thomas Adès, it’s an unignorable contribution. The EFDSS sponsored the BBC Home Service radio program, As I Roved Out, based on field recordings made by Peter Kennedy and Séamus Ennis 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.

This wonderful English orchestral piece does what it says on the tin: it introduces young people (and old, ahem) to every instrument of the orchestra by sharing a catchy tune out among the different instruments in turn, in an orchestral variations extravaganza to rival the very best of them. 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 Ernest John Moeran, who collected over 150 songs in Norfolk and Suffolk in the 1920s. E. Cray, The Erotic Muse: American Bawdy Songs (Champaign, IL: University of Illinois Press, 1968) and G.The Song of Hiawatha is one of the most famous works of Samuel Coleridge-Taylor, a contemporary of Ralph Vaughan Williams and Gustav Holst (above). Birmingham's position as a centre for folk music has been emphasised by its place as the home of the Birmingham Conservatoire Folk Ensemble, led by former Albion Band fiddler Joe Broughton, which provides something of a clearing house of promising young folk musicians.