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The post–World War II folk revival in America and in Britain started a new genre, Contemporary Folk Music, and brought an additional meaning to the term "folk music": newly composed songs, fixed in form and by known authors, which imitated some form of traditional music.
Most songs of the Colonial and Revolutionary periods originated in England, Scotland and Ireland and were brought over by early settlers. According to ethnomusicologist Bruno Nettl, American folk music is notable because it "At its roots is an English folk song tradition that has been modified to suit the specific requirements of America."
Like numerous other folk songs, "In the Pines" was passed on from one generation and locale to the next by word of mouth. In 1925, a version of the song was recorded onto phonograph cylinder by a folk collector. This was the first documentation of "The Longest Train" variant of the song, which includes a verse about "The longest train I ever ...
The song is number 324 in the Roud Folk Song Index. Other variations (due to the influence of its oral dispersion among different regions) include the Caribbean (St. Vincent) version, "World of Misery", referring not to an "Indian princess" but to "the white mullata".
"John Barleycorn" is an English and Scottish folk song. [1] The song's protagonist is John Barleycorn, a personification of barley and of the alcoholic beverages made from it: beer and whisky. In the song, he suffers indignities, attacks, and death that correspond to the various stages of barley cultivation, such as reaping and malting.
"On Top of Old Smoky" (often spelled "Smokey") is a traditional folk song of the United States. As recorded by the Weavers, the song reached the pop music charts in 1951. It is catalogued as Roud Folk Song Index No. 414.
Susanna" is a folk song by Stephen Foster (1826–1864), first published in 1848. It is among the most popular American songs ever written. Members of the Western Writers of America chose it as one of the Top 100 Western songs of all time. [1]
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'. [1]