List of North American folk music traditions

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This is a list of folk music traditions, with styles, dances, instruments and other related topics. The term folk music can not be easily defined in a precise manner; it is used with widely varying definitions depending on the author, intended audience and context within a work. Similarly, the term traditions in this context does not connote any strictly-defined criteria. Music scholars, journalists, audiences, record industry individuals, politicians, nationalists and demagogues may often have occasion to address which fields of folk music are distinct traditions based along racial, geographic, linguistic, religious, tribal or ethnic lines, and all such peoples will likely use different criteria to decide what constitutes a "folk music tradition". This list uses the same general categories used by mainstream, primarily English-language, scholarly sources, as determined by relevant statements of fact and the internal structure of works.

Contents

These traditions may coincide entirely, partially or not at all with geographic, political, linguistic or cultural boundaries. Very few, if any, music scholars would claim that there are any folk music traditions that can be considered specific to a distinct group of people and with characteristics undiluted by contact with the music of other peoples; thus, the folk music traditions described herein overlap in varying degrees with each other.

CountryElementsDanceInstrumentationOther topics
AanishanabeSee Ojibwa
African American [1] blues - blues-harp - boat song - field holler - fife and drum band - freedom song - funereal music - gospel - lining out - shape-note - Shout - spiritual - work song blues dance - hambone - juba dance - ring dance - shout banjo - bones - cowbell - diddley bow - fiddle - harmonica - tambourine - washtub bass blue note - camp meeting - Election Day celebration - Great Awakening - Pinkster
Anglo-American [2] ballad - folk hymn - protest song - sea shanty - shape note - singing barn dance - Country-western two-step - longways - jig - reel - square dance fiddle - flute - guitar - harpsichord - violin Caller - Shakers
Apache [3] Apache fiddle - pot drum - water drum
Appalachian [4] ballad - Blue Ridge fiddling - bluegrass - Child ballad - close harmony - folk hymn - jug band - lining out - North Georgia fiddling - old-time music - scolding ballad - shape note - singing - string band [5] clogging autoharp - banjo - cello - cornstalk fiddle - dulcimer - fiddle - flute - guitar - harmonica - mandolin folk revival - hillbilly
Arapaho [6] Ghost Dance - peyote song rabbit dance - round dance - snake dance - Sun Dance - turtle dance Ghost Dance
Blue RidgeSee Appalachian
Cajun [7] polka - two-step - waltz accordion - fiddle - guitar - spoons - triangle - washboard
Cape BretonSee Irish- and Scottish-Canadian
Cherokee [8] stomp dance rattle
Chickasaw [8] stomp dance
ChippewaSee Ojibwa
Choctaw [8] stomp dance
Cree [9] fiddle
DakotaSee Sioux
DinéhSee Navajo
English-AmericanSee Anglo-American
Finnish-AmericanSee Finnish
French-AmericanSee French
German- and Moravian-American [10] collegia musica - cornet band - Moravian funereal music - trombone choir hautboy - kettle drum - trumpet - viol Ephrata Cloister - liederkranz - Singstunde
HopiSee Pueblo
Illinois [11] calumet dance berdache - calumet
Inuit [12] ayaya - kattajaq - pisiq - throat-singing drum dance - jig - kalattuut - reel accordion - drum angakkog
Irish- and Scottish-Canadian [13] ballad - Cape Breton fiddling - emigrant ballad - sean nos - shape note reel - step dance - strathspey fiddle ceilidh
Irish-American [14] ballad - emigrant ballad - sean nos clogging - hornpipe - jig - reel - step dance - square dance banjo - dulcimer - fiddle - guitar - harmonica - mandolin
Iroquois [15] Eagle Dance - Quiver Dance - Warrior's Stomp Dance drum - rattle - water drum
Italian-AmericanSee Italy
Japanese-AmericanSee Japanese
Jewish-American [16] cantorial chant - klezmer bulgar - doina - freylekh - hora - khosidl - mazurka - nigun - polka - sirba - waltz cello - clarinet - double bass - flute - tsimbl - violin badkhn - Freygish - kapelye
LakotaSee Sioux
Louisiana Creole [17] la la - mellows - zydeco. bamboula - ring dance accordion - fiddle - guitar - washboard Congo Square - fais-do-do
Maritime Canada [18] Cape Breton fiddling - milling song jig - reel accordion - fiddle - piano
Menomini [19] water drum
Metis [9] step dance fiddle
Mexican, Mejicano, Hispanic, New Mexico and Tejano [20] alabado - bravata - California mission music - conjunto - copla - corrido - estribillo - huapango arribeño - jarabe - letra - mariachi - Matachines - Mexican son - pirekua - son huasteco - sones abajeños - sones calentanos - sones de arpa grande - sones istmeños - son jaliscense - son jarocho - topada - vallena - zandunga chotis - jarabe tapatío - jarana - Matachines - mazurka - polka - raspa - redowa - waltz - xtoles - zandunga - zapateado accordion - angelus bell - bajo sexto - fiddle - harp - huapanguera - jarana - guitarra quinta - guitarrón - mission bell - requinto - vihuela - violin trovadore - vaquero
Moravian-AmericanSee German-American
Navajo [21] gift song - signal song - sway song - Yeibichai circle dance - Squaw Dance pot drum - rattle - water drum Blessingway - Enemyway - Ghostway - hataałii - hózhǫ́ - Nightway - Yeibichai
New England [22] folk hymn - lining out - Old Way of Singing - psalmody - shape note barn dance
Newfoundland ballad - sea shanty - sean nos hornpipe - jig - reel - step dance - square dance bodhrán - fiddle - guitar - harmonica - accordion - spoons
New Mexico See Mexican / Hispanic
Ojibwa [23] war song water drum
Omaha [24] pipe dance
Pueblo [25] Matachines - work song Matachines Anasazi flute - drum - flageolet New Mexico - Shalako
Quebecois [9] accord de pieds
San IldefonsoSee Pueblo
Santo DomingoSee Pueblo
Scottish-CanadianSee Irish- and Scottish-Canadian
Sioux [19] Grass Dance bell - drum - rattle
Southern states [26] ballad - brass band - Delta blues - blues-harp - fife and drum band - folk hymn - jug band - Sacred Harp - shape note - Southern gospel - white spiritual barn dance - chicken in the breadtray - clogging - fisher's hornpipe - Highland fling - jig - lancer - pigeonwing - polka - quadrille - reel - square dance - waltz banjo - dulcimer - fiddle - guitar - harmonica - mandolin singing
Taos PuebloSee Pueblo
Tejano, sometimes called Tex-MexSee Mexican
Tohono O'odham [27] chicken scratch (waila) - conjunto chotis - mazurka - polka - waila accordion - bass guitar - drum - fiddle - guitar piest
Ukrainian-American and CanadianSee Ukrainian
Western Canada and the United States [28] cattle call - cowboy song - frontier ballad - holler - waltz - Western swing - work song square dance accordion - banjo - fiddle - guitar - harmonica Caller - Chisholm Trail - cowboy poetry - medicine show
Yaqui [29] Danza del Venado
ZuniSee Pueblo

See also

Related Research Articles

<span class="mw-page-title-main">Ethnomusicology</span> Study of the cultural aspects of music

Ethnomusicology is the multidisciplinary study of music in its cultural context, investigating social, cognitive, biological, comparative, and other dimensions involved other than sound. Ethnomusicologists study music as a reflection of culture and investigate the act of musicking through various immersive, observational, and analytical approaches drawn from other disciplines such as anthropology to understand a culture’s music. This discipline emerged from comparative musicology, initially focusing on non-Western music, but later expanded to embrace the study of any and all different kinds of music of the world.

<span class="mw-page-title-main">Music of the United States</span>

The United States' multi-ethnic population is reflected through a diverse array of styles of music. It is a mixture of music influenced by the music of Europe, Indigenous peoples, West Africa, Latin America, Middle East, North Africa, amongst many other places. The country's most internationally renowned genres are traditional pop, jazz, blues, country, bluegrass, rock, rock and roll, R&B, pop, hip-hop/rap, soul, funk, religious, disco, house, techno, ragtime, doo-wop, folk, americana, boogaloo, tejano, reggaeton, surf, and salsa, amongst many others. American music is heard around the world. Since the beginning of the 20th century, some forms of American popular music have gained a near global audience.

<span class="mw-page-title-main">Indigenous music of North America</span> Music by Indigenous peoples of North America

Indigenous music of North America, which includes American Indian music or Native American music, is the music that is used, created or performed by Indigenous peoples of North America, including Native Americans in the United States and Aboriginal peoples in Canada, Indigenous peoples of Mexico, and other North American countries—especially traditional tribal music, such as Pueblo music and Inuit music. In addition to the traditional music of the Native American groups, there now exist pan-Indianism and intertribal genres as well as distinct Native American subgenres of popular music including: rock, blues, hip hop, classical, film music, and reggae, as well as unique popular styles like chicken scratch and New Mexico music.

Chicken scratch is a kind of dance music developed by the Tohono O'odham people. The genre evolved out of acoustic fiddle bands in southern Arizona, in the Sonoran desert. These bands began playing European and Mexican tunes, in styles that include the polka, schottisch and mazurka.

<span class="mw-page-title-main">Music history of the United States to the Civil War</span>

From the American Revolutionary War to the start of the American Civil War, American music underwent many changes. The folk vernacular traditions diversified and spread across the nation, while a number of prominent composers of European art music also arose.

<span class="mw-page-title-main">Music history of the United States in the late 19th century</span>

The latter part of the 19th century saw the increased popularization of African American music and the growth and maturity of folk styles like the blues.

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

Anglo-American music is derived from the English culture of the Thirteen Colonies of the United States and has been a founding influence for American folk and popular music.

This is a list of folk music traditions, with styles, dances, instruments, and other related topics. The term folk music cannot be easily defined in a precise manner. It is used with widely varying definitions depending on the author, intended audience and context within a work. Similarly, the term traditions in this context does not connote any strictly-defined criteria. Music scholars, journalists, audiences, record industry individuals, politicians, nationalists, and demagogues may often have occasion to address which fields of folk music are distinct traditions based along racial, geographic, linguistic, religious, tribal, or ethnic lines, and all such peoples will likely use different criteria to decide what constitutes a "folk music tradition". This list uses the same general categories used by mainstream, primarily English-language, scholarly sources, as determined by relevant statements of fact and the internal structure of works.

<span class="mw-page-title-main">Sub-Saharan African music traditions</span> Traditional sound-based art forms developed by sub-Saharan African peoples

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The Society for Ethnomusicology is, with the International Council for Traditional Music and the British Forum for Ethnomusicology, one of three major international associations for ethnomusicology. Its mission is "to promote the research, study, and performance of music in all historical periods and cultural contexts."

This is a timeline of music in the United States from 1950 to 1969.

This is a timeline of music in the United States from 1820 to 1849.

This is a timeline of music in the United States from 1920 to 1949.

George Herzog was an American anthropologist, folklorist, musicologist, and ethnomusicologist.

References

Notes

  1. Darden, pp. 8, 43–45, 48, 57; Broughton, Viv, and James Attlee, "Devil Stole the Beat" in the Rough Guide to World Music, pp. 568–579; Crawford, pp. 107, 111–112, 409–411; Burk, Cassie, Wirginia Meierhoffer and Claude Anderson Phillips, pp. 96–97; van de Merwe; Titon, Jeff Todd, "North America/Black America" in Worlds of Music, pp. 106–166; Lornell, pp. 75–77, 82–83.
  2. Nettl, Folk and Traditional Music, p. 202; Crawford, pp. 70, 71, 157–158; Burk, Cassie, Wirginia Meierhoffer and Claude Anderson Phillips, pp. 11, 34; Lankford, p. 117; Lornell, pp. 65–67; World Music Central Archived 2006-02-07 at the Wayback Machine
  3. Means, Andrew, "Ha-Ya-Ya-, Weya Ha-Ya-Ya!", in the Rough Guide to World Music, pp. 593–603; McAllester, David P., "North America/Native America" in Worlds of Music, pp. 16–66.
  4. Fussell, pp. 3, 6–10; Ritchie, pp. 52, 57; Barraclough, Nick and Kurt Wolff, "High an' Lonesome" in the Rough Guide to World Music, pp. 536–551; Crawford, p. 601; Burk, Cassie, Wirginia Meierhoffer and Claude Anderson Phillips, pp. 101–105; Lankford, p. 38; Lornell, pp. 15–17, 65–67, 82–83
  5. There is some ambiguity in usage regarding some of these terms. Bluegrass, for example, is not generally considered folk music, but is often loosely categorized along with it, and is especially associated with the Appalachian style. The term old-time music is also ambiguous, and can refer to styles of folk music from outside the Appalachian area. The American folk revival was a musical field in the 1950s and 60s that drew on many styles of American folk music, especially Appalachian music; however, the folk revival itself produced much undebateably popular music and little or no true folk music, depending on the precise definition of that term used.
  6. Nettl, Folk and Traditional Music, p. 150.
  7. Broughton, Simon and Jeff Kaliss, "Music Is the Glue", in the Rough Guide to World Music, pp. 552–567; Lornell, pp. 70–71.
  8. 1 2 3 Means, Andrew, "Ha-Ya-Ya-, Weya Ha-Ya-Ya!", in the Rough Guide to World Music, pp. 593–603.
  9. 1 2 3 Foran, Charles, "No More Solitudes", in the Rough Guide to World Music, pp. 350–361.
  10. Crawford, pp. 53–55; Maryland Music and Theatre Archived 2005-05-07 at the Wayback Machine ; Burk, Cassie, Wirginia Meierhoffer and Claude Anderson Phillips, pp. 30, 44.
  11. Crawford, p. 10.
  12. Foran, Charles, and Etienne Bours, "No More Solitudes" and "Sealskin Hits" in the Rough Guide to World Music, pp. 350–361 and 143–145.
  13. Sawyers, pp. 75–78, 194–198, 228–230.
  14. Sawyers, pp. 62–67; 196–199, 208–290, 228–230.
  15. Nettl, Folk and Traditional Music, p. 161; McAllester, David P., "North America/Native America" in Worlds of Music, pp. 16–66; McAllester, David P., "North America/Native America" in Worlds of Music, pp. 16–66.
  16. Broughton, Simon, "Rhythm and Jews" in the Rough Guide to World Music, pp. 581–591; Lornell, pp. 77–78.
  17. Broughton, Simon and Jeff Kaliss, "Music Is the Glue", in the Rough Guide to World Music, pp. 552–567; Crawford, pp. 118–119; Burk, Cassie, Wirginia Meierhoffer and Claude Anderson Phillips, p. 99; Lornell, pp. 87–88
  18. Ritchie, p. 54.
  19. 1 2 McAllester, David P., "North America/Native America" in Worlds of Music, pp. 16–66.
  20. Manuel, Popular Musics, pp. 54–56; Farquharson, Mary and Ramiro Burr, "Much More Than Mariachi" and "Accordion Enchilada", in the Rough Guide to World Music, pp. 463–476 and pp. 604–614; Nettl, Folk and Traditional Music, pp. 193–194; Burk, Cassie, Wirginia Meierhoffer and Claude Anderson Phillips, pp. 48–49, 52, 190–191; Lornell, pp. 22–23, 72–73, 78–79.
  21. Means, Andrew, "Ha-Ya-Ya-, Weya Ha-Ya-Ya!", in the Rough Guide to World Music, pp. 593–603; Nettl, Folk and Traditional Music, p. 165; McAllester, David P., "North America/Native America" in Worlds of Music, pp. 16–66.
  22. Crawford, pp. 24–25; World Music Central Archived 2006-02-07 at the Wayback Machine
  23. Crawford, p. 391; McAllester, David P., "North America/Native America" in Worlds of Music, pp. 16–66.
  24. Crawford, p. 400.
  25. Means, Andrew, "Ha-Ya-Ya-, Weya Ha-Ya-Ya!", in the Rough Guide to World Music, pp. 593–603; Crawford, p. 8; Lornell, p. 22–23
  26. Crawford, pp. 162–164; Burk, Cassie, Wirginia Meierhoffer and Claude Anderson Phillips, p. 138; van de Merwe; Sawyers, pp. 197, 208; Lankford, pp. 38, 65–67, 75, 84–85; Abel, pp. 132–134, 172; World Music Central Archived 2006-02-07 at the Wayback Machine
  27. Means, Andrew, "Ha-Ya-Ya-, Weya Ha-Ya-Ya!", in the Rough Guide to World Music, pp. 593–603; Lornell, pp. 73–74
  28. Crawford, p. 430, 433–435, 609; Burk, Cassie, Wirginia Meierhoffer and Claude Anderson Phillips, pp. 107, 187–189, 192–198; Lornell, pp. 74–75, 85–86.
  29. World Music Central Archived 2006-02-07 at the Wayback Machine