Contemporary folk music refers to a wide variety of genres that emerged in the mid-20th century and afterwards which were associated with traditional folk music. Starting in the mid-20th century, a new form of popular folk music evolved from traditional folk music. This process and period is called the (second) folk revival and reached a zenith in the 1960s. The most common name for this new form of music is also "folk music", but is often called "contemporary folk music" or "folk revival music" to make the distinction.[1] The transition was somewhat centered in the United States and is also called the American folk music revival.[2] Fusion genres such as folk rock and others also evolved within this phenomenon. While contemporary folk music is a genre generally distinct from traditional folk music, it often shares the same English name, performers and venues as traditional folk music; even individual songs may be a blend of the two.
While the Romantic nationalism of the first folk revival had its greatest influence on art music, the "second folk revival" of the later 20th century brought a new genre of popular music with artists marketed through concerts, recordings and broadcasting. One of the earliest figures in this revival was Woody Guthrie, who sang traditional songs in the 1930s and 1940s as well as composing his own. In the UK, the folk revival fostered a generation of singer-songwriters such as Donovan, who achieved initial prominence in the 1960s. The folk revival spawned Canada's first folk wave of internationally successful artists such as Gordon Lightfoot, Leonard Cohen, Joni Mitchell, and Buffy Sainte-Marie.
Major performers who emerged from the 1940s to the early 1960s included Woody Guthrie, Pete Seeger, Phil Ochs, Joan Baez, and Bob Dylan. The mid-1960s through the early 1970s was associated with large musical, political, lifestyle, and counterculture changes. Folk music underwent a related rapid evolution, expansion and diversification at that same time. Major changes occurred through the evolution of established performers such as Bob Dylan, Joan Baez, Judy Collins, and Peter, Paul and Mary, and also through the creation of new fusion genres with rock and pop. During this period, the term "protest music" was often used to characterize folk music with topical political themes. The Canadian performers Gordon Lightfoot, Leonard Cohen, Bruce Cockburn and Joni Mitchell represented such fusions and enjoyed great popularity in the U.S. Starting in the 1970s folk music was fueled by new singer-songwriters such as Joni Mitchell, Neil Young, and Harry Chapin.
Definitions of "contemporary folk music" are generally vague and variable.[3] Here, it is taken to mean all music that is called folk that is not traditional folk music, but rather, a set of genres that began with and then evolved from the folk revival of the mid-20th century. According to musician and singer-songwriter Hugh Blumenfeld, for the American folk scene, "it's not just about the music. The definitions are political, social, and economic as well as aesthetic. But if it can't be defined, we can at least describe what people who consider themselves folk music fans generally listen to."[4] Though he considers folk music to be difficult to define, Blumenfeld lists some observed consistencies:
In general, it is Anglo-American, embracing acoustic and/or tradition-based music from the U.K. and the United States.
Musically, it is mainly Western European in its origins; linguistically, it is predominantly English-based. Other musical modes and languages, rightly or wrongly, tend to get separated out and grouped under "World Music", even if they are considered traditional within their respective cultures.
The few exceptions to this model are derived mainly from prevailing political/historical conditions in the Anglo-American world and the demographics of folk fans: Celtic music, blues, some Central and South American music, Native American music, and Klezmer.
Folk revival of the mid-20th century in the English-speaking countries
Beginning in the post World War II era, folk revivals occurred in Europe, Canada, and the United States, and developed through the 1960s, with the subject matter of this music influenced by the political and social climates of the day. According to The North American Folk Music Revival, "the folk music revival began... as a North Eastern American urban phenomenon, and spread from city to city throughout the entire continent and beyond, to Wester Europe", with "enthusiasts" generally being middle-class university students. While instrumentation of folk music varies across countries and regions, music of the North American folk revival tended to use "acoustic guitar, harmonica, banjo, mandolin, autoharp, violin, and accordion".[5]
While the Romantic nationalism of the folk revival had its greatest influence on art-music, the "second folk revival" of the later 20th century brought a new genre of popular music with artists marketed through concerts, recordings and broadcasting. This is the genre that remains as "contemporary folk music" even when traditional music is considered to be a separate genre. One of the earliest figures in this revival was Woody Guthrie, who sang traditional songs in the 1930s and 1940s as well as composing his own. Among Guthrie's friends and followers as a collector, performer, and composer was Pete Seeger.
Notable figures of the American folk revival include Elizabeth Cotten and Odetta. Cotten, a guitar and banjo player who developed the "Cotten style" of guitar fingerpicking, released her first album, Freight Train and Other North Carolina Folk Songs and Tune, in 1958 with the help of Mike Seeger, which also illuminates the use of guitars tuned to open keys, another common element found in folk music.[6] Odetta, who is known for blending her operatic vocal background with blues and folk songs, was notably active in the Civil Rights Movement, which is reflected in her music.[7] Both Cotten and Odetta performed at the first Newport Folk Festival.
In the 1930s, Jimmie Rodgers, in the 1940s Burl Ives, in the early 1950s Seeger's group the Weavers and Harry Belafonte, and in the late 1950s the Kingston Trio as well as other professional, commercial groups became popular. Some who defined commercialization as the beginning of this phase consider the commercial hit Tom Dooley by the Kingston Trio in 1958 as marking the beginning of this era.[3] In 1963–1964, the ABC television network aired the Hootenanny television series devoted to this brand of folk music and also published the associated magazine ABC-TV Hootenanny. Starting in 1950, the Sing Out!, Broadside, and The Little Sandy Review magazines helped spread both traditional and composed songs, as did folk-revival-oriented record companies.
In 1950, prominent American folklorist and collector of traditional songs Alan Lomax came to Britain and met A. L. 'Bert' Lloyd and Ewan MacColl, a meeting credited as inaugurating the second British folk revival. In London, the colleagues opened the Ballads and Blues Club, eventually renamed the Singers' Club, possibly the first folk club in the UK; it closed in 1991. As the 1950s progressed into the 1960s, the folk revival movement gathered momentum in both Britain and America.
In much of rural Canada, traditional and country-folk music were the predominant styles of music until the 1950s, ahead even of the globally popular jazz and swing. Traditional folk took this predominance into early Canadian television with many country-themed shows on its early airwaves. All Around the Circle (1964–1975) showcased the traditional Irish- and English-derived music of Newfoundland, for example. But by far the most important of these was Don Messer's Jubilee (1957–1973), which helped to bridge the gap between rural country-folk and the folk revival that was emerging from urban coffee shops and folk clubs. The show helped to launch the careers of country-folk singers Stompin' Tom Connors and Catherine McKinnon.
The folk revival spawned Canada's first folk wave of internationally successful artists such as Gordon Lightfoot, Leonard Cohen, Ian & Sylvia, Neil Young, Joni Mitchell, and Buffy Sainte-Marie.[8] At the same time, Quebec folk singer-songwriters like Gilles Vigneault and groups such as La Bottine Souriante were doing the same in the French-speaking world. English-speaking Canadian folk artists tended to move the United States to pursue larger audiences until the introduction of so-called "Canadian content" rules for radio and television in the 1970s. At the same time, Canadian folk music became more formalized and commercialized with the rise of specialized folk festivals (beginning with the Miramichi Folksong Festival in 1958), increased radio airplay on rock, pop, and easy listening radio stations, the introduction of the Juno Award for Folk Artist of the Year in 1971, and even an academic journal the Canadian Folk Music Journal in 1973. The mid- and late 1960s saw fusion forms of folk (such as folk rock) achieve prominence never before seen by folk music, but the early 1960s were perhaps the zenith of non-fusion folk music prominence in the music scene.
During the Great Depression, folk music reflected social realities of poverty and disempowerment of common people through vernacularized lyrics expressing the harsh realities of hard times and poverty. Often newly composed songs in traditional style by writers like Guthrie also featured a humorous and satirical tone. Most of the audience for folk music in those years were part of the working class, and many of these songs expressed resistance to the social order and an anger towards the government.[9]
The large musical, political, lifestyle, and counterculture changes most associated with "the 60s" occurred during the second half of the decade and the first year or two of the 1970s. Folk music underwent a related rapid evolution, expansion and diversification at that same time. Major changes occurred through the evolution of established performers such as Bob Dylan, Joan Baez, Judy Collins, the Seekers and Peter Paul and Mary, and also through the creation of new fusion genres with rock and pop. Much of this evolution began in the early 1960s and emerged into prominence in the mid and late 1960s. One performance "crucible" for this evolution was Greenwich Village New York. Dylan's use of electric instruments helped inaugurate the genres of folk rock and country rock, particularly by his album John Wesley Harding.[10][11]
During this period, the term "protest music" was often used to characterize folk music with topical political themes. The convergence of the civil rights movement and folk music on the college campus led to the popularity of artists like Bob Dylan and his brand of protest music.[14] As Folk singers and songwriters such as Phil Ochs, Buffy Sainte-Marie, Arlo Guthrie and Tom Paxton followed in Woody Guthrie's footsteps, writing "protest music" and topical songs and expressing support for various causes including the American Civil Rights Movement and anti-war causes associated with the Vietnam War.[15] Songs like Dylan's "Blowin' in the Wind" became an anthem for the civil rights movement, and he sang ballads about many other current issues of the time, such as "Hard Rain's Gonna Fall" about the Cuban missile crisis. Dylan is quoted having said "there's other things in this world besides love and sex that're important, too."[14] A number of performers who had begun their careers singing largely traditional material, as typified by Joan Baez and Judy Collins, began to write their own material.
Bonnie Koloc is a Chicago-based American folk musicsinger-songwriter who made her recording debut in 1971. In 1968 Melanie, released her first album in 1968 with several popular songs with a folk/pop blend.
The mid to late Sixties saw the development of British folk rock, with a focus on indigenous (European, and, emblematically, English) songs. A key British folk rock moment was the release of Fairport Convention's album Liege and Lief. Guitarist Richard Thompson declared that the music of the band demanded a corresponding "English Electric" style, while bassist Ashley Hutchings formed Steeleye Span to pursue a more traditional repertoire performed in the folk rock style. Following his own departure from the group, Thompson and his wife Linda released six albums as a duo which integrated folk rock and art rock. Fairport Convention, Pentangle, Alan Stivell and Mr. Fox's work included electrification of traditional musical forms.
In the second half of the 1990s, once more, folk music made an impact on the mainstream music via a younger generation of artists such as Eliza Carthy, Kate Rusby and Spiers and Boden. Canada's biggest-selling folk group of the 1990s and 2000s was the Celtic, rock-tinged Great Big Sea from Newfoundland, who have had four albums certified platinum in Canada.
Viking metal is defined in its folk stance, incorporating folk interludes into albums (e.g., Bergtatt and Kveldssanger, the first two albums by once-folk metal, now-experimental band Ulver). Mumford & Sons a folk rock and indie folk band was formed in 2007 and achieved prominence in 2010. Shenandoah Run formed in 2011 to bring contemporary American folk music of the 1960s to modern listeners.[18]
Specialty subgenres
Filk music can be considered folk music stylistically and culturally (though the 'community' it arose from, science fiction fandom, is an unusual and thoroughly modern one).[19]Neofolk began in the 1980s, fusing traditional European folk music with post-industrial music, historical topics, philosophical commentary, traditional songs and paganism. The genre is largely European but it also influences other regions. Pagan Folk music is prominent in Germany, the United Kingdom, Scandinavian countries and Slavic countries with singers like David Smith (Aka Damh the bard) and Bands like Danheim, Faun, Omnia, Wardruna and Arkona. Most bands join the folk genre with other musical genres like metal or electronica.[20]
Anti folk began in New York City in the 1980s. Folk punk, known in its early days as rogue folk, is a fusion of folk music and punk rock. It was pioneered by the London-based Irish band the Pogues in the 1980s. Industrial folk music is a characterization of folk music normally referred to under other genres, and covers music of or about industrial environments and topics, including related protest music.
Music mixing elements of folk and electronic music, or "folktronica",[21] (or "ethnic electronica") that features uses of acoustic instruments with variable influences and choice of sounds.[21][22][verification needed]The Ashgate Research Companion to Popular Musicology describes folktronica as "a catch-all [term] for all manner of artists who have combined mechanical dance beats with elements of acoustic rock or folk."[23]
Country folk as a genre label is a rather nebulous one, but one that has been employed often at least since the mid-1970s. For dedicated enthusiasts, the category largely includes the works of contemplative post-Dylan singer-songwriters, who were influenced by his and other late 1960s' and 1970s' artists' country rock sounds, but who, recording slightly later, preferred a gentler, more acoustic-dominant sound that allowed focus on the lyrics. The significant element that distinguishes "country folk" from the "folk" music on Dylan's contemporaries' recordings in the 1960s was the re-admission of country and bluegrass music instrumentation—mandolin, banjo, fiddle, and resophonic and electric steel guitars—into the mix; country rock's success with urban audiences had paved the way for this hybrid. For aficionados, viewing country folk as a subgenre of country is inaccurate, as it is not aimed at a country music audience, in the main.
Some of the definitive country folk artists from the early years include Harry McClintock,[27][28]John Prine, Kate Wolf, and Nanci Griffith—all singer-songwriters with thoughtful lyrics whose arrangements are backed by the aforementioned instruments. By the 1980s, record labels such as Rounder and Sugar Hill specialized in recording country folk artists
The category does overlap with the post-country rock trajectories of other artists who moved away from the mainstream market as country rock's own fortunes waned at the close of the 1970s. Emmylou Harris moved into neo-traditionalist country, Chris Hillman into progressive bluegrass, brother harmony duo (with Herb Pedersen), and Bakersfield revival. By the start of the 1990s, these sounds, as well as others, would inspire musical amalgams categorized as alternative country music and americana, yet "country folk" continues to be used for the gentler sounds of singers such as Iris DeMent, Kate & Anna McGarrigle, and Gillian Welch.
Even during the 1970s, as the acoustic, early country music-inflected sounds of country folk were making it distinct from other styles of post-1960s singer-songwriter music, it had varying degrees of overlaps with the sounds of progressive country music (such as Kris Kristofferson, Townes Van Zandt, Guy Clark), outlaw country (Billy Joe Shaver, Waylon Jennings, Willie Nelson, Johnny Cash), progressive bluegrass (Tony Rice albums Cold on the Shoulder and Native American), and other country rock inflected recordings (Tom Rush's Tom Rush and Merrimack County and Gordon Lightfoot and Jimmy Buffett's 1970s catalog). None of these were specifically marketed or received as "country folk", however. Still, later low-key, acoustic-dominant country-inflected recordings by these and many other earlier artists have at times loosely, but not inaccurately, been defined as country folk by some sources.
More recently, the majority of artists whose music could be classified as country folk find their home in the americana genre, including Brandi Carlile, Jason Isbell, Parker Millsap, Patty Griffin and Amanda Shires, with several artists being interchangeably described as both folk and americana artists, such as Sarah Jarosz who has received Grammy Awards in both genre categories.
European contemporary folk music
In Europe, the term "folk" is used just for a special modern genre (the traditional folk is called folklore or national music).
The Czech folk music is influenced by Czech traditional music an songwriters, "tramping" music, as well as by English-language country and contemporary-folk music, spirituals and traditionals, bluegrass, chanson etc. In the second half of the 20th century, all the similar genres coexisted as a protest multigenre, in contrast to the official pop music, to the rock music etc. Since 1967, the "Porta" festival became the centre of this genre, originally defined as a festival of country & western & tramping music. Acoustic guitars were the most typical instrument for them all.
Related Research Articles
Woodrow Wilson Guthrie was an American singer-songwriter and composer who was one of the most significant figures in American folk music. His work focused on themes of American socialism and anti-fascism. He inspired several generations both politically and musically with songs such as "This Land Is Your Land".
Peter Seeger was an American folk singer and social activist. He was a fixture on nationwide radio in the 1940s, and had a string of hit records during the early 1950s as a member of The Weavers, notably their recording of Lead Belly's "Goodnight, Irene," which topped the charts for 13 weeks in 1950. Members of the Weavers were blacklisted during the McCarthy Era. In the 1960s, Seeger re-emerged on the public scene as a prominent singer of protest music in support of international disarmament, civil rights, counterculture, workers' rights, and environmental causes.
Folk rock is a fusion genre of rock music with heavy influences from pop, English and American folk music. It typically combines elements of folk and rock music together, it arose in the United States, Canada, and the United Kingdom in the mid-1960s. In the U.S., folk rock emerged from the folk music revival. Performers such as Bob Dylan and the Byrds—several of whose members had earlier played in folk ensembles—attempted to blend the sounds of rock with their pre-existing folk repertoire, adopting the use of electric instrumentation and drums in a way previously discouraged in the U.S. folk community. The term "folk rock" was initially used in the U.S. music press in June 1965 to describe the Byrds' music.
A singer-songwriter is a musician who writes, composes, and performs their own musical material, including lyrics and melodies. In the United States, the category is built on the folk-acoustic tradition with a guitar, although this role has transmuted through different eras of popular music. Traditionally, these musicians would write and sing songs personal to them. Singer-songwriters often provide the sole musical accompaniment to an entire song. The piano is also an instrument of choice.
A roots revival is a trend which includes young performers popularizing the traditional musical styles of their ancestors. Often, roots revivals include an addition of newly composed songs with socially and politically aware lyrics, as well as a general modernization of the folk sound.
A work song is a piece of music closely connected to a form of work, either one sung while conducting a task or one linked to a task that may be a connected narrative, description, or protest song. An example is "I've Been Working on the Railroad".
Outlaw country is a subgenre of American country music created by a small group of iconoclastic artists active in the 1970s and early 1980s, known collectively as the outlaw movement, who fought for and won their creative freedom outside of the Nashville establishment that dictated the sound of most country music of the era. Willie Nelson, Waylon Jennings, Merle Haggard, Johnny Cash, Kris Kristofferson, Johnny Paycheck and David Allan Coe were among the movement's most commercially successful members.
Newport Folk Festival is an annual American folk-oriented music festival in Newport, Rhode Island, which began in 1959 as a counterpart to the Newport Jazz Festival. The festival was founded by music promoter and Jazz Festival founder George Wein, music manager Albert Grossman, and folk singers Pete Seeger, Theodore Bikel, and Oscar Brand. It was one of the first modern music festivals in America, and remains a focal point in the expanding genre of folk music. The festival was held in Newport annually from 1959 to 1969, except in 1961 and 1962, first at Freebody Park and then at Festival Field. In 1985, Wein revived the festival in Newport, where it has been held at Fort Adams State Park ever since.
Industrial folk music, industrial folk song, industrial work song or working song is a subgenre of folk or traditional music that developed from the 18th century, particularly in Britain and North America, with songs dealing with the lives and experiences of industrial workers. The origins of industrial folk song are in the British Industrial Revolution of the eighteenth century as workers tended to take the forms of music with which they were familiar, including ballads and agricultural work songs, and adapt them to their new experiences and circumstances. They also developed in France and the US as these countries began to industrialise.
British folk rock is a form of folk rock which developed in the United Kingdom from the mid 1960s, and was at its most significant in the 1970s. Though the merging of folk and rock music came from several sources, it is widely regarded that the success of "The House of the Rising Sun" by British band the Animals in 1964 was a catalyst, prompting Bob Dylan to "go electric", in which, like the Animals, he brought folk and rock music together, from which other musicians followed. In the same year, the Beatles began incorporating overt folk influences into their music, most noticeably on their Beatles for Sale album. The Beatles and other British Invasion bands, in turn, influenced the American band the Byrds, who released their recording of Dylan's "Mr. Tambourine Man" in April 1965, setting off the mid-1960s American folk rock movement. A number of British groups, usually those associated with the British folk revival, moved into folk rock in the mid-1960s, including the Strawbs, Pentangle, and Fairport Convention.
John Cohen was an American musician, photographer and film maker who performed and documented the traditional music of the rural South and played a major role in the American folk music revival. In the 1950s and 60s, Cohen was a founding member of the New Lost City Ramblers, a New York–based string band. Cohen made several expeditions to Peru to film and record the traditional culture of the Q'ero, an indigenous people. Cohen was also a professor of visual arts at SUNY Purchase College for 25 years.
Harold Leventhal was an American music manager. Leventhal's career began as a song plugger for Irving Berlin and then Benny Goodman. While working for Goodman, he connected with a new artist, Frank Sinatra, booking him as a singer for a Benny Goodman event. Leventhal later managed The Weavers, Woody Guthrie, Pete Seeger, Alan Arkin, Judy Collins, Theodore Bikel, Arlo Guthrie, Joan Baez, Mary Travers, Tom Paxton, Don McLean and many others, and promoted major concert events in the genre, thus playing a significant role in the popularization and influence of American folk music in the 1950s and 1960s. He died in 2005 at the age of 86.
Americana is an amalgam of American music formed by the confluence of the shared and varied traditions that make up the musical ethos of the United States of America, with particular emphasis on music historically developed in the American South.
Progressive folk is a style of contemporary folk that adds new layers of musical and lyrical complexity, often incorporating various ethnic influences.
Troubadours of Folk is a five volume series of compact discs released by Rhino Records in 1992. The series documents several decades worth of "contemporary" folk music. The first three volumes focus on the American "folk revival" of the 1960s while the final two volumes focus on singer-songwriter music of the 1970s and 1980s. Because of "licensing restrictions" no songs by Bob Dylan could be included in the anthology. The series tends to focus on American folk music although not exclusively. Rhino later released a series of volumes titled Troubadours of British Folk.
The American folk music revival began during the 1940s and peaked in popularity in the mid-1960s. Its roots went earlier, and performers like Josh White, Burl Ives, Woody Guthrie, Lead Belly, Big Bill Broonzy, Richard Dyer-Bennet, Oscar Brand, Jean Ritchie, John Jacob Niles, Susan Reed, Paul Robeson, Bessie Smith, Ma Rainey and Cisco Houston had enjoyed a limited general popularity in the 1930s and 1940s. The revival brought forward styles of American folk music that had in earlier times contributed to the development of country and western, blues, jazz, and rock and roll music.
Gerdes Folk City, sometimes spelled Gerde's Folk City, was a music venue in the West Village, part of Greenwich Village, Manhattan, in New York City. Initially opened by owner Mike Porco as a restaurant called Gerdes, it eventually began to present occasional incidental music. It was first located at 11 West 4th Street, before moving in 1970 to 130 West 3rd Street. The club closed in 1987.
This article includes an overview of the events and trends in popular music in the 1960s.
Popular music of the United States in the 1960s became innately tied up into causes, opposing certain ideas, influenced by the sexual revolution, feminism, Black Power and environmentalism. This trend took place in a tumultuous period of massive public, unrest in the United States which consisted of the Cold War, Vietnam War, and Civil Rights Movement.
"This Train", also known as "This Train Is Bound for Glory", is a traditional African-American gospel song first recorded in 1922. Although its origins are unknown, the song was relatively popular during the 1920s as a religious tune, and it became a gospel hit in the late 1930s for singer-guitarist Sister Rosetta Tharpe. After switching from acoustic to electric guitar, Tharpe released a more secular version of the song in the early 1950s.
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