Work song

Last updated

A work song is a piece of music closely connected to a form of work, either one sung while conducting a task (usually to coordinate timing) 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".

Contents

Definitions and categories

Records of work songs are as old as historical records, and anthropological evidence suggests that most agrarian societies tend to have them. [1]

When defining work songs, most modern commentators include songs that are sung while working, as well as songs that are about work or have work as the main subject, since the two categories are often interconnected. [2] Norm Cohen divided collected work songs into the following categories: domestic, agricultural or pastoral, sea shanties, African-American work songs, songs and chants of direction, and street cries. [3] Ted Gioia built on these categories by dividing agricultural and pastoral songs into subsections: hunting, cultivation and herding songs. Goia also highlighted the industrial or proto-industrial songs of cloth workers (see Waulking song), factory workers, seamen, longshoremen, mechanics, plumbers, electricians, lumberjacks, cowboys and miners. He also added prisoner songs and modern work songs. [1]

Hunting and pastoral songs

In societies without mechanical timekeeping, songs for mobilisation–calling members of a community together for a collective task–were extremely important. [4] Both hunting and the keeping of livestock tended to involve small groups or individuals, usually boys and young men, who would spend long hours working, away from the centers of settlement. As a result, these activities tended to produce long narrative songs, often sung individually, which might dwell on the themes of pastoral activity or animals, designed to pass the time in the tedium of work. [4]

Hunting songs, such as those of the Mbuti of the Congo, often incorporated distinctive whistles and yodels so that hunters could identify each other's locations and the locations of their prey. [4]

Agricultural work songs

Most agricultural work songs were rhythmic, a cappella songs intended to increase productivity while reducing feelings of boredom. [4] Rhythms of work songs, similar to an African drum beat, served to synchronize physical movement in groups, coordinating sowing, hoeing, and harvesting. [4] The usage of verses in work songs were sometimes improvised and sung differently each time. Improvisation provided singers with a subversive form of expression. Enslaved people sang improvised verses to mock their overseers, express frustrations, and share dreams of escaping. Many work songs served to create connection and familiarity between workers.

Yankee Doodle is thought to have started out as a harvest song, its words possibly originating from farmers in 15th century Holland. It contained mostly nonsensical and out-of-place words that were presumably sung to a similar—if not the same—tune: "Yanker, didel, doodle down, Diddle, dudel, lanther, Yanke viver, voover vown, Botermilk und tanther." Farm laborers in Holland at the time received as their wages "as much buttermilk (Botermilk) as they could drink, and a tenth (tanther) of the grain". [5] [6] [7]

African-American work songs

African-American work songs originally developed in the era of slavery, between the seventeenth and nineteenth centuries. Because they were part of an almost entirely oral culture, they had no fixed form and only began to be recorded as the era of slavery came to an end after 1865. Slave Songs of the United States was the first collection of African-American "slave songs." It was published in 1867 by William Francis Allen, Charles Pickard Ware, and Lucy McKim Garrison. [8] Though this text included many songs by slaves, other texts have also been published that include work songs. Many songs sung by slaves have their origins in African song traditions, and may have been sung to remind the Africans of home, while others were instituted by the captors to raise morale and keep Africans working in rhythm. [9] They have also been seen as a means of withstanding hardship and expressing anger and frustration through creativity or covert verbal opposition. [10] Similarly, work songs have been used as a form of rebellion and resistance. [11] Specifically, African-American women work songs have a particular history and center on resistance and self-care. [12] Work songs helped to pass down information about the lived experience of enslaved people to their communities and families. [12]

A common feature of African-American songs was the call-and-response format, where a leader would sing a verse or verses and the others would respond with a chorus. This came from African traditions of agricultural work song and found its way into the spirituals that developed once Africans in bondage began to convert to Christianity and from there to both gospel music and the blues. The call and response format showcases the ways in which work songs foster dialogue. The importance of dialogue is illuminated in many African-American traditions and continues on to the present day. [12] Particular to the African call and response tradition is the overlapping of the call and response. [13] The leader's part might overlap with the response, thus creating a unique collaborative sound. Similarly, African-American folk and traditional music focuses on polyphony rather than a melody with a harmony. [13] Often, there will be multiple rhythmic patterns used in the same song "resulting in a counterpoint of rhythms." [13] The focus on polyphony also allows for improvisation, a component that is crucial to African-American work songs. [13] As scholar Tilford Brooks writes, "improvisation is utilized extensively in Black folk songs, and it is an essential element especially in songs that employ the call-and-response pattern." [13] Brooks also notes that often in a work song, "the leader has license to improvise on the melody in [their] call, while the response usually repeats its basic melody line without change." [13] Also evident were field hollers, shouts, and moans, which may have been originally designed for different bands or individuals to locate each other and narrative songs that used folk tales and folk motifs, often making use of homemade instruments. [14] In early African captivity drums were used to provide rhythm, but they were banned in later years because of the fear that Africans would use them to communicate in a rebellion; nevertheless, Africans managed to generate percussion and percussive sounds, using other instruments or their own bodies. [15] In the 1950s, there are very few examples of work songs linked to cotton picking. [16]

Corn, however, was a very common subject of work songs on a typical plantation. Because the crop was the main component of most Africans' diet,[ citation needed ] they would often sing about it regardless of whether it was being harvested. Often, communities in the south would hold "corn-shucking jubilees," during which an entire community of planters would gather on one plantation. The planters would bring their harvests, as well as their enslaved workers, and work such as shucking corn, rolling logs, or threshing rice would be done, accompanied by the singing of Africans doing work. The following is an example of a song Africans would sing as they approached one of these festivals. It is from ex bonded African William Wells Brown's memoir " My Southern Home."

All them pretty gals will be there,
Shuck that corn before you eat;
They will fix it for us rare,
Shuck that corn before you eat.
I know that supper will be big,
Shuck that corn before you eat;
I think I smell a fine roast pig,
Shuck that corn before you eat.

— Slaves in the Antebellum South

These long, mournful, antiphonal songs accompanied the work on cotton plantations, under the driver's lash.

—  Tony Palmer, All You Need is Love: The Story of Popular Music. [17]

Work songs were used by African-American railroad work crews in the southern United States before modern machinery became available in the 1960s. Anne Kimzey of the Alabama Center For Traditional Culture writes: "All-black gandy dancer crews used songs and chants as tools to help accomplish specific tasks and to send coded messages to each other so as not to be understood by the foreman and others. The lead singer, or caller, would chant to his crew, for example, to realign a rail to a certain position. His purpose was to uplift his crew, both physically and emotionally, while seeing to the coordination of the work at hand. It took a skilled, sensitive caller to raise the right chant to fit the task at hand and the mood of the men. Using tonal boundaries and melodic style typical of the blues, each caller had his own signature. The effectiveness of a caller to move his men has been likened to how a preacher can move a congregation." [18]

Another common type of African-American work song was the "boat song." Sung by slaves who had the job of rowing, this type of work song is characterized by "plaintive, melancholy singing." These songs were not somber because the work was more troublesome than the work of harvesting crops. Rather, they were low-spirited so that they could maintain the slow, steady tempo needed for rowing. In this way, work songs followed the African tradition, emphasizing the importance of activities being accompanied by the appropriate song. [19]

The historian Sylviane Diouf and ethnomusicologist Gerhard Kubik identify Islamic music as an influence on field holler music. [20] [21] Diouf notes a striking resemblance between the Islamic call to prayer (originating from Bilal ibn Rabah, a famous Abyssinian African Muslim in the early 7th century) and 19th-century field holler music, noting that both have similar lyrics praising God, melody, note changes, "words that seem to quiver and shake" in the vocal cords, dramatic changes in musical scales, and nasal intonation. She attributes the origins of field holler music to African Muslim slaves who accounted for an estimated 30% of African slaves in America. According to Kubik, "the vocal style of many blues singers using melisma, wavy intonation, and so forth is a heritage of that large region of West Africa that had been in contact with the Arabic-Islamic world of the Maghreb since the seventh and eighth centuries." [20] [21] There was particularly a significant trans-Saharan cross-fertilization between the musical traditions of the Maghreb and the Sahel. [21]

Sea shanties

Work songs sung by sailors between the eighteenth and twentieth centuries are known as sea shanties. These songs were typically performed while adjusting the rigging, raising anchor, and other tasks where men would need to pull in rhythm. These songs usually have a very punctuated rhythm precisely for this reason, along with a call-and-answer format. Well before the nineteenth century, sea songs were common on rowing vessels. Such songs were also very rhythmic in order to keep the rowers together. Because many cultures used slaves to row, some of these songs might also be considered slave songs. Improvised verses sung by sailors spoke of ills with work conditions and captains. These songs were performed with and without the aid of a drum.

Cowboy songs

Western music was directly influenced by the folk music traditions of immigrants in the nineteenth century as they moved west. They reflected the realities of the range and ranch houses where the music originated, played a major part in combating the loneliness and boredom that characterised cowboy life and western life in general. [22] Such songs were often accompanied on portable instruments of guitars, fiddles, concertina and harmonica. [22] In the nineteenth century cowboy bands developed and cowboy songs began to be collected and published from the early twentieth century with books like John Lomax's Cowboy Songs and Other Frontier Ballads (1910). [23] As cowboys were romanticised in the mid-twentieth century they became extremely popular and played a part in the development of country and western music. [22]

Industrial folk song

Industrial folk song emerged in Britain in the eighteenth century, as workers took the forms of music with which they were familiar, including ballads and agricultural work songs, and adapted them to their new experiences and circumstances. [24] Unlike agricultural work songs, it was often unnecessary to use music to synchronise actions between workers, as the pace would be increasingly determined by water, steam, chemical and eventually electric power, and frequently impossible because of the noise of early industry. [25]

As a result, industrial folk songs tended to be descriptive of work, circumstances, or political in nature, making them amongst the earliest protest songs and were sung between work shifts or in leisure hours, rather than during work. This pattern can be seen in textile production, mining and eventually steel, shipbuilding, rail working and other industries. As other nations industrialised their folk song underwent a similar process of change, as can be seen for example in France, where Saint-Simon noted the rise of 'Chansons Industriale' among cloth workers in the early nineteenth century, and in the USA where industrialisation expanded rapidly after the Civil War. [26]

A.L. Lloyd defined the industrial work song as 'the kind of vernacular songs made by workers themselves directly out of their own experiences, expressing their own interest and aspirations...'. [24] Lloyd also pointed to various types of song, including chants of labour, love and erotic occupational songs and industrial protest songs, which included narratives of disasters (particularly among miners), laments for conditions, as well as overtly political strike ballads. [24] He also noted the existence of songs about heroic and mythical figures of industrial work, like the coal miners the 'Big Hewer' or 'Big Isaac' Lewis. [24]

This tendency was even more marked in early American industrial songs, where representative heroes like Casey Jones and John Henry were eulogised in blues ballads from the nineteenth century. [27]

Folk revival

In the 1930s, Lead Belly (Huddie Ledbetter) was recorded in prison by the folklorist Alan Lomax. Lead Belly knew hundreds of work hollers and traditional songs from the cotton fields, railroads and prison gangs. In the 1940s he toured widely on college campuses and folk music venues, popularising songs including "Take This Hammer", "John Henry" "Boll Weevil" and "Midnight Special". His repertoire was a major influence on the Folk Revival of the 1950s and 1960s. Mining songs written in the late 1940s by country artists Merle Travis ("Sixteen Tons" and "Dark as a Dungeon") and Billy Edd Wheeler ("Coal Tattoo") also became fireside standards.

The working class was glorified in Marxist theory and practice, and a strong link between work songs and activism developed in the USA and elsewhere. The "dustbowl balladeer" Woody Guthrie wrote and performed work-related songs such as "Deportee" and "Talking Hard Work" in the 1940s and 1950s. Guthrie and other politically active performers, especially the Weavers with Pete Seeger, continued the Union Songs movement that had begun with Joe Hill in the early 1900s. From that time, most topical and activist singers including Joan Baez, Bob Dylan and Phil Ochs performed work-related songs. Rock performers with working-class leanings such as Bruce Springsteen have also been influenced by the genre. [28]

In Britain, Ewan MacColl and Peggy Seeger produced hundreds of albums of political and traditional songs, writing many songs referring to industrial and working conditions. [29] Folk or folk-rock performers including Steeleye Span, Fairport Convention, The Watersons, Dick Gaughan, Capercaillie, Billy Bragg, James Fagan and Nancy Kerr have featured work songs in their performances.

In Australia, shearing songs and droving songs featured strongly in the first traditional songs to be collected in the field in the 1950s. Merv Lilley and Dorothy Hewett wrote work poems that were set to music during the early 1960s folk revival and became standards, such as the call-and-reply canecutting song "Cane Killed Abel" and one of the first songs about the social and environmental damage caused by industrialisation, "Weevils in the Flour". [30] Alternative rock bands like Midnight Oil and Goanna passed the tradition to a broader audience.

With the end of the folk boom in the 1970s and the rise of the introspective singer-songwriter, the genre lost its wide public appeal, but work songs have continued to be very popular throughout the folk scene, at protest gatherings and with union choirs.

Women's work songs

Waulking songs from Scotland are a traditional genre performed while women communally beat and felted cloth.

Some women's work songs have been created within modern genres. Dolly Parton's "Nine to Five" is pop country, Cher's "Working Girl" is also an office work anthem. Donna Summer's "She Works Hard for the Money" is disco/techno and refers to "the oldest profession" (prostitution).

See also

Related Research Articles

American folklore encompasses the folklore that has evolved in the present-day United States mostly since the European colonization of the Americas. It also contains folklore that dates back to the Pre-Columbian era.

<span class="mw-page-title-main">Ballad</span> Verse set to music

A ballad is a form of verse, often a narrative set to music. Ballads derive from the medieval French chanson balladée or ballade, which were originally "dance songs". Ballads were particularly characteristic of the popular poetry and song of Great Britain and Ireland from the Late Middle Ages until the 19th century. They were widely used across Europe, and later in Australia, North Africa, North America and South America.

<span class="mw-page-title-main">Bluegrass music</span> Genre of American roots music and sub-genre of country music

Bluegrass music is a genre of American roots music that developed in the 1940s in the Appalachian region of the United States. The genre derives its name from the band Bill Monroe and the Blue Grass Boys. Like mainstream country music, it largely developed out of old-time music, though in contrast to country, it is traditionally played exclusively on acoustic instruments and also kept its roots in traditional English, Scottish and Irish ballads and dance tunes, as well as incorporating blues and jazz. It was further developed by musicians who played with Monroe, including 5-string banjo player Earl Scruggs and guitarist Lester Flatt. Bill Monroe once described bluegrass music as, "It's a part of Methodist, Holiness and Baptist traditions. It's blues and jazz, and it has a high lonesome sound."

Spirituals is a genre of Christian music that is associated with African Americans, which merged varied African cultural influences with the experiences of being held in bondage in slavery, at first during the transatlantic slave trade and for centuries afterwards, through the domestic slave trade. Spirituals encompass the "sing songs", work songs, and plantation songs that evolved into the blues and gospel songs in church. In the nineteenth century, the word "spirituals" referred to all these subcategories of folk songs. While they were often rooted in biblical stories, they also described the extreme hardships endured by African Americans who were enslaved from the 17th century until the 1860s, the emancipation altering mainly the nature of slavery for many. Many new derivative music genres such as the blues emerged from the spirituals songcraft.

<span class="mw-page-title-main">American folk music</span> Roots and traditional music from the United States

The term American folk music encompasses numerous music genres, variously known as traditional music, traditional folk music, contemporary folk music, vernacular music, or roots music. Many traditional songs have been sung within the same family or folk group for generations, and sometimes trace back to such origins as the British Isles, Mainland Europe, or Africa. Musician Mike Seeger once famously commented that the definition of American folk music is "...all the music that fits between the cracks."

<span class="mw-page-title-main">Sea shanty</span> Rhythmical work song sung on sailing vessels

A sea shanty, shanty, chantey, or chanty is a genre of traditional folk song that was once commonly sung as a work song to accompany rhythmical labor aboard large merchant sailing vessels. The term shanty most accurately refers to a specific style of work song belonging to this historical repertoire. However, in recent, popular usage, the scope of its definition is sometimes expanded to admit a wider range of repertoire and characteristics, or to refer to a "maritime work song" in general.

<span class="mw-page-title-main">John Lomax</span> American musicologist and folklorist (1867–1948)

John Avery Lomax was an American teacher, a pioneering musicologist, and a folklorist who did much for the preservation of American folk music. He was the father of Alan Lomax, John Lomax Jr. and Bess Lomax Hawes, also distinguished collectors of folk music.

The folk music of England is a tradition-based music which has existed since the later medieval period. It is often contrasted with courtly, classical and later commercial music. Folk music traditionally was preserved and passed on orally within communities, but print and subsequently audio recordings have since become the primary means of transmission. The term is used to refer both to English traditional music and music composed or delivered in a traditional style.

<span class="mw-page-title-main">African-American music</span> Musical traditions of African American people

African-American music is a broad term covering a diverse range of musical genres largely developed by African Americans and their culture. Its origins are in musical forms that developed as a result of the enslavement of African Americans prior to the American Civil War. It has been said that "every genre that is born from America has black roots."

<span class="mw-page-title-main">Gandy dancer</span> Slang term for workers on railroad tracks

Gandy dancer is a slang term used for early railroad workers in the United States, more formally referred to as section hands, who laid and maintained railroad tracks in the years before the work was done by machines. The British equivalents of the term gandy dancer are navvy, originally builders of canals, or inland navigations, for builders of railway lines, and platelayer for workers employed to inspect and maintain the track. In the Southwestern United States and Mexico, Mexican and Mexican-American track workers were colloquially traqueros.

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.

Western music is a form of music composed by and about the people who settled and worked throughout the Western United States and Western Canada. Western music celebrates the lifestyle of the cowboy on the open range, along the Rocky Mountains, and among the prairies of Western North America. The genre grew from the mix of cultural influences in the American frontier and what became the Southwestern United States at the time, it came from the folk music traditions of those living the region, those being the hillbilly music from those that arrived from the Eastern U.S., the corrido and ranchera from Northern Mexico, and the New Mexico and Tejano endemic to the Southwest. The music industry of the mid-20th century grouped the western genre with that of similar folk origins, instrumentation and rural themes, to create the banner of country and western music, which was simplified in time to country music.

Little is known about the exact origin of the music now known as the blues. No specific year can be cited as its origin, largely because the style evolved over a long period but blues is inarguably a Black American art form as it is noted "it is impossible to say exactly how old blues is - certainly no older than the presence of Negroes in the United States. It is native American Music, the product of the Black in this Country or to put it more exactly the way I have come to think about it, blues could not exist if African Captives had not become American Captives". Ethnomusicologist Gerhard Kubik traces the roots of many of the elements that were to develop into the blues back to the African continent, the "cradle of the blues". One important early mention of something closely resembling the blues comes from 1901, when an archaeologist in Mississippi described the songs of black workers which had lyrical themes and technical elements in common with the blues.

Vocal jazz or jazz singing is a genre within jazz music where the voice is used as an instrument.

<span class="mw-page-title-main">Field holler</span> Historical type of vocal work song

The field holler or field call is mostly a historical type of vocal work song sung by field slaves in the United States to accompany their tasked work, to communicate usefully, or to vent feelings. It differs from the collective work song in that it was sung solo, though early observers noted that a holler, or ‘cry’, might be echoed by other workers. Though commonly associated with cotton cultivation, the field holler was also sung by levee workers, and field hands in rice and sugar plantations. Field hollers are also known as corn-field hollers, water calls, and whoops. An early description is from 1853 and the first recordings are from the 1930s. The holler is closely related to the call and response of work songs and arhoolies. The Afro-American music form ultimately influenced strands of African American music, such as the blues and thereby rhythm and blues, as well as negro spirituals.

<span class="mw-page-title-main">Creole music</span>

The term Creole music is used to refer to two distinct musical traditions: art songs adapted from 19th-century vernacular music; or the vernacular traditions of Louisiana Creole people which have persisted as 20th- and 21st-century la la and zydeco in addition to influencing Cajun music.

<span class="mw-page-title-main">Songs of the Underground Railroad</span> 19th-century American spiritual and work songs

Songs of the Underground Railroad were spiritual and work songs used during the early-to-mid 19th century in the United States to encourage and convey coded information to escaping slaves as they moved along the various Underground Railroad routes. As it was illegal in most slave states to teach slaves to read or write, songs were used to communicate messages and directions about when, where, and how to escape, and warned of dangers and obstacles along the route.

Dillard Chandler was an American Appalachian Folk singer from Madison County, North Carolina. His a cappella performances on compilation albums were recorded by folklorist and musicologist John Cohen.

The British folk revival incorporates a number of movements for the collection, preservation and performance of folk music in the United Kingdom and related territories and countries, which had origins as early as the 18th century. It is particularly associated with two movements, usually referred to as the first and second revivals, respectively in the late 19th to early 20th centuries and the mid-20th century. The first included increased interest in and study of traditional folk music, the second was a part of the birth of contemporary folk music. These had a profound impact on the development of British classical music and in the creation of a "national" or "pastoral" school and led to the creation of a sub-culture of folk clubs and folk festivals as well as influential subgenres including progressive folk music and British folk rock.

A work song is a song that is sung while doing labour or any kind of work. Usually, the song helps with keeping rhythm or is used as a distraction. Work songs can include content focused around the surrounding environment, resistance, or protest. Many different groups throughout history have sung work songs. Enslaved African-American women had a unique history associated with work songs. Their work songs portrayed their specific standpoint and experiences during the slavery period in the United States.

References

  1. 1 2 E. Gioia, Work Songs (Duke University Press, 2006).
  2. ↑ E. Gioia, Work Songs (Duke University Press, 2006), p. xi.
  3. ↑ N. Cohen, 'Worksongs: a demonstration of examples', in A. Green, Songs about Work: Essays in Occupational Culture for Richard A. Reuss (Indiana University Press, 1993), pp. 334-5.
  4. 1 2 3 4 5 P. M. Peek and K. Yankah, African Folklore: An Encyclopedia (London: Taylor & Francis, 2004), p. 520.
  5. ↑ Banks, Louis Albert (1898). Immortal Songs of Camp and Field: The Story of Their Inspiration, Together with Striking Anecdotes Connected with Their History. Burrows Brothers Company. p.  44.
  6. ↑ Yankee Doodle Dandy, The New York Times
  7. ↑ Elson, Louis Charles (1912). University Musical Encyclopedia: A history of music. Vol. 2. p. 82.
  8. ↑ M. Dixon, Ride Out the Wilderness: Geography and Identity in Afro-American Literature (Published by University of Illinois Press, 1987), p. 12.
  9. ↑ S. A. Floyd, The power of Black music: interpreting its history from Africa to the United States (Oxford: Oxford University Press US, 1996), p. 50.
  10. ↑ D. D. Volo, The Antebellum Period (Greenwood, 2004), p. 278.
  11. ↑ Jackson, Gale P., "Rosy, Possum, Morning Star: African American Women's Work and Play Songs": An Excerpt From Put Your Hands on Your Hips and Act Like a Woman: Song, Dance, Black History and Poetics in Performance. Journal of Black Studies Vol. 46(8), 2015: 773–796.
  12. 1 2 3 Hill Collins, Patricia. Black Feminist Thought: Knowledge, Consciousness, and the Politics of Empowerment. New York: Routledge, 2000.
  13. 1 2 3 4 5 6 Brooks, Tilford, America's Black Musical Heritage. New Jersey: Prentice-Hall, Inc., 1984.
  14. ↑ E. Gioia, Work Songs (Duke University Press, 2006), p. 55.
  15. ↑ PBS site on the history of jazz available
  16. ↑ E. Gioia, Work Songs (Duke University Press, 2006), p. 46.
  17. ↑ Du Noyer, Paul (2003). The Illustrated Encyclopedia of Music (1st ed.). Fulham, London: Flame Tree Publishing. p. 158. ISBN   1-904041-96-5.
  18. ↑ Arts.state.al.us
  19. ↑ Southern, Eileen (1983). The Music of Black Americans: A History (Third ed.). New York, New York: Norton & Company, Inc. pp.  161–165. ISBN   9780393952797.
  20. 1 2 Curiel, Jonathan (August 15, 2004). "Muslim Roots of the Blues". SFGate . San Francisco Chronicle. Archived from the original on September 5, 2005. Retrieved August 24, 2005.
  21. 1 2 3 Tottoli, Roberto (2014). Routledge Handbook of Islam in the West. Routledge. p. 322. ISBN   9781317744023.
  22. 1 2 3 V. Bogdanov, C. Woodstra and S. T. Erlewine. All Music Guide to Country: The Definitive Guide to Country Music (Backbeat Books, 2003), p. 901.
  23. ↑ J. A. Lomax, Cowboy Songs and Other Frontier Ballads (1910, BiblioBazaar, LLC, 2009).
  24. 1 2 3 4 A. L. Lloyd, Folk song in England (London: Lawrence and Wishart, 1967), p. 323-28.
  25. ↑ J. Shepherd, Continuum Encyclopedia of Popular Music, vol. 1: Media, Industry and Society (Continuum International Publishing Group, 2003), p. 251.
  26. ↑ E. J. Weber, Peasants into Frenchmen: the modernization of rural France, 1870-1914 (Stanford University Press, 1976), pp. 431-5 and Simon J. Bronner, Folk nation: folklore in the creation of American tradition (Rowman & Littlefield, 2002), p. 142.
  27. ↑ N. Cohen and D. Cohen, Long Steel Rail: the Railroad in American Folksong (University of Illinois Press, 2000), p. 126.
  28. ↑ Garman, B K (2000). A Race of Singers: Whitman's Working-Class Hero from Guthrie to Springsteen. University of North Carolina Press.
  29. ↑ M. Brocken, The British Folk Revival 1944-2002 (Ashgate, Aldershot, 2003), p. 64.
  30. ↑ Gregory, Mark (15 September 2012). "A short history of a song" (PDF). Radical Newcastle. Retrieved 20 September 2022.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.