Relevant bibliographies by topics / Folk Music Revival

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Folk Music Revival'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Folk Music Revival"

1

Truten, Jack, and Ailie Munro. "The Folk Music Revival in Scotland." Ethnomusicology 30, no. 2 (1986): 359. http://dx.doi.org/10.2307/852027.

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Shapiro, Anne Dhu, and Ailie Munro. "The Folk Music Revival in Scotland." Notes 44, no. 4 (June 1988): 718. http://dx.doi.org/10.2307/941030.

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Buchan, David, and Ailie Munro. "The Folk Music Revival in Scotland." Jahrbuch für Volksliedforschung 31 (1986): 178. http://dx.doi.org/10.2307/848339.

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Marino, Michael. "Folk City: New York and the Folk Music Revival." Popular Music and Society 41, no. 1 (September 25, 2017): 93–94. http://dx.doi.org/10.1080/03007766.2018.1377918.

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Adelt, Ulrich. "Folk City: New York and the American Folk Music Revival." Journal of American History 104, no. 1 (June 2017): 243–44. http://dx.doi.org/10.1093/jahist/jax104.

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Kratochvíl, Matěj. "“Our song!” Nationalism in folk music research and revival in socialist Czechoslovakia." Studia Musicologica 56, no. 4 (December 2015): 397–405. http://dx.doi.org/10.1556/6.2015.56.4.7.

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In the Czechoslovakia of the 1950s, traditional folk music was officially presented as the most important resource of national musical identity. Folk- or folk-inspired music was ubiquitous. Although this intensity had subsided in the following decades, the role of folk music as a symbol of national identity remained strong until the end of the communist rule in 1989. While the ideology of nationalism used folk music as its tool, it also influenced the way this music was collected, researched, and presented. The article presents examples from two closely related areas to document this phenomenon: folk music research and folk music revival. A closer look reveals how the idea of state-promoted nationalism influenced the ways researchers presented their findings, how they filtered out material that was deemed unsuitable for publication, and how traditional music was revived on stage or in media by folk music and dance ensembles. Critical analysis of research materials and audiovisual documents from the 1950s and 1960s will show how censorship accompanied a folk song from its collection in the field, through publication, to a stylized production on stage or in film.
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Bohlman, Philip V., and Robert Cantwell. "When We Were Good: The Folk Revival." American Music 16, no. 1 (1998): 91. http://dx.doi.org/10.2307/3052677.

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Bruford, Alan. "A. Munro, The folk music revival in Scotland." Northern Scotland 7 (First Series, no. 1 (January 1986): 92–93. http://dx.doi.org/10.3366/nor.1986.0021.

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ALLEN, RAY. "In Pursuit of Authenticity: The New Lost City Ramblers and the Postwar Folk Music Revival." Journal of the Society for American Music 4, no. 3 (July 15, 2010): 277–305. http://dx.doi.org/10.1017/s1752196310000155.

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AbstractThis article explores the discourse of authenticity, which has become central to our understanding of twentieth-century folk music revivals in the United States. The process of musical revival, that is, the self-conscious restoration of musical systems deemed in danger of decline or extinction, has been closely tied to perceptions of exactly what constitutes authentic, or genuine, folk tradition. The term tradition, like authenticity, is a slippery concept based on a self-conscious interpretation and selective editing of the past. The complex mechanism of cultural editing that undergirds the authentication process is fleshed out by focusing on the efforts of one band, the New Lost City Ramblers. During the 1960s the Ramblers introduced northern audiences to what they judged to be authentic southern string-band and bluegrass styles at a time when the urban revival was dominated by popular and artsy interpreters of folk music. The Ramblers' struggles to render accurately southern rural instrumental and singing styles, while maintaining their own distinctive sound, offer insight into the challenges authenticity posed for mid-century folk musicians and their urban audiences, and continues to pose for scholars and cultural workers today.
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Kovalcsik, Katalin. "Popular dance music elements in the folk music of Gypsies in Hungary." Popular Music 6, no. 1 (January 1987): 45–65. http://dx.doi.org/10.1017/s0261143000006607.

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Gypsy folk music is of a distinctive character compared with that of the other East European ethnic communities. The pecularities differentiating it from these other forms of folk music – improvisation and a readiness to adopt new influences – have continued to be of significance. While in several cases the folk music of peoples who have established themselves in national states is kept alive by artificial means (e.g. by promoting folk singing groups, by teaching folksongs in schools and by various revival movements), the vast majority of Gypsies have preserved their traditional music as an almost exclusive musical language.
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Dissertations / Theses on the topic "Folk Music Revival"

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Murphy, Judith A. "Folk on Tyne : Tyneside culture and the second folk revival, 1950-1975." Thesis, Northumbria University, 2007. http://nrl.northumbria.ac.uk/1731/.

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This thesis explores the nature of the second folk revival in the North East of England. While there have been several major studies of the various national folk revivals during the 1950s, '60s and '70s, there is a paucity of scholarly accounts viewed through a regional lens. This study therefore builds on a common perception of North Eastern regional particularity to establish the ways in which the folk revival as experienced by its members within the region was distinct from that detailed in the literature on the wider (inter-)national folk scene. Using comparative examples drawn from the regional and international folk movements, the thesis contextualizes and differentiates the general trends within the second revival as a whole and its North Eastern manifestation. There are some evident discrepancies relating, for example, to levels of political involvement in the respective folk scenes but also broad similarities in chronological developments. These trends are explored through a number of themes, beginning with the weaving of a constructed regional folk-cultural identity out of a diversity of ethnic, local and occupational strands. Secondly, the common assumption that the North East is a region with a rare continuity of traditions is interrogated, alongside an acknowledgement that this was a time of rapid social change, mobility and dislocation from older cultural practices. The basic dichotomy of 'mediator' and `mediated' is questioned and found wanting, particularly in a region where young revivalists were rarely far — temporally, geographically or socially - from the source of their tradition. The ways in which the media represented and altered folk traditions, and how these representations were used to build regional consciousness is considered, as are the 1960s developments in heritage and tourism which saw vernacular culture taking on a much greater significance in the region's economy. Further, celebratory imagery is shown to have a long history in musical representations of the region, but with a contemporary focus on stoicism in the face of decline. Finally, the reasons behind the folklorists' imperative to locate the `authentic' are sought in relative degrees of alienation from contemporary society, resulting in a dissolution of the barriers between 'genuine' and 'invented' tradition.
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Lorenz, Stephen Fox. "Cosmopolitan Folk| The Cultural Politics of the North American Folk Music Revival in Washington, D.C." Thesis, The George Washington University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3615789.

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This dissertation looks at the popular American folksong revival in the Washington, D.C., metropolitan region during the Cold War and Civil Rights era. Examination of folk revival scholarship, local media reports and cultural geography, and the collected interviews and oral histories of Washington area participants, reveals the folk and blues revival was a mass mediated phenomenon with contentious factions. The D.C. revival shows how restorative cultural projects and issues of authenticity are central to modernity, and how the function of folksong transformed from the populist, labor oriented Old Left to the personalized politics of the New Left. This study also significantly disrupts often romantic scholarship and political narratives about the folk revival and redirects the intellectual attention on New York, Chicago, and San Francisco towards the nation's capital as an overlooked site of cultural production. Washington's "folk world" of music clubs, coffeehouses, record collectors, disc jockeys, performers, folklorists, and folk music aficionados drove folk music studies towards context and cultural democracy, but the local insistence on apolitical, traditional, and rural forms of folksong as the most genuine reinscribed racial and class hierarchies even as they enhanced Washington's status. Washington, D.C., shifted the loose folk revival "movement" into permanent cultural institutions and organizations, and the city gained a cosmopolitan reputation for authentic folk music that intermingled with its regional culture and identity as the nation's capital and site of public protest.

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Brocken, Michael. "The British folk revival : an analysis of folk/popular dichotomies from a popular music studies perspective." Thesis, University of Liverpool, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266140.

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McLaughlin, Noel. "Pop and the periphery : nationality, culture and Irish popular music." Thesis, Ulster University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326322.

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This thesis seeks to consider the relationship between 'rock' and 'Irishness' • between transnational pop and the nation-state • challenging the 'orthodox' view that Irish rock embodies uniquely Irish characteristics. It is about Irish popular music and identity and is primarily concerned with the relationship between culture and meaning. It argues that the study of popular music as 'text' is important to the more general study of culture (even though the notion of text in popular music is problematic). The thesis seeks to explore how meaning is made in popular music culture across a shifting and unstable textual matrix. Authenticity is a central concept here and I examine discourses of Irish authenticity and essentialism and their relationship to authenticity in rock. The study of Irish rock is, I argue, important to wider debates about identity and globalisation, especially in debates about the relationship between national music cultures and an increasingly globalised market. I undertake an exploration of the concept of cultural hybridity and assess both its strengths and its limitations to tbe study of popular music and debates about national identity. Hybridity, I argue, is important in that it helps break down the essentialising force of both the main discourses of authenticity outlined, becoming useful in moving beyond discourses of cultural purity. Howeve~ hybridity discourse also has problems and frequently there is a Jack of discrimination between different types of hybrid text which may result ina simple celebration of hybrids and hybridity. Thus, the complex relationship between popular music, the articulation of identity in pop songs (and across pop's mobile textuality) and in discourse about pop is overlooked. In this way, the thesis argues that the study of popular music culture in specific contexts may reveal the limitations of existing cultural studies work on hybridity, textuality and meaning. This is part of a broader project of arguing for more detailed consideration of music, meaning and pleasure in regional and peripheral national contexts.
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McKinney, Rebecca. "Old tunes for new times : contemporary Scottish nationalism and the folk music revival." Thesis, University of Edinburgh, 1999. http://hdl.handle.net/1842/22476.

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This thesis examines the complex of relationships between the contemporary drive for Scottish self-determination and the performance of Scottish folk and traditional music. The central argument of this work revolves around A.P. Cohen's (1996) notion of personal nationalism, which posits that individuals make the concepts of nation and nationalism relevant to themselves through daily experience and practice. Rather than examining or attempting to define Scottish nationalism as an internally homogeneous movement, this thesis focuses upon the ways in which various types of nationalist sentiment are created, expressed, and shaped through a particular form of cultural performance. Thus it is argued that there are numerous types of nationalism in Scotland, ranging from the Scottish National Party's explicit calls for political independence to artistic and cultural expressions of "Scottishness" which may or may not be directly connected to specific party-political objectives. As an ethnographic study of largely amateur folk music performers in Edinburgh, this work examining the role of music and musical performance in everyday life. It argues that, for these individuals, music and music-making are central in the formation of a sense of both personal and social identity. Through the performance of music which is symbolically linked to aspects of Scottish history, geography, cultural tradition and language, these performers see themselves to be performing aspects of Scottishness: a national identity which cannot be objectively defined but which is continually shaped and re-shaped through cultural practice. The Scottish musical traditions are discussed as ones which the musicians perceive to be still "living" and changing, rather than as historical artefacts to be preserved. This thesis draws upon the interdisciplinary studies of contemporary Scottish politics, society, and culture and, based upon fieldwork conducted from August 1996-October 1997, is historically situated in a time of political change.
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Francmanis, John Valdis. "The musical Sherlock Holmes : Frank Kidson and the English folk music revival, c.1890-1926." Thesis, Leeds Beckett University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362217.

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Caplat, Jacques. "Quand le geste technique transforme l'intention : l'évolution de l'accordéon diatonique en Bretagne." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH139/document.

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Ce travail vise à comprendre pourquoi et comment l'accordéon diatonique breton a connu une profonde transformation organologique et stylistique au cours des dernières décennies. L'évolution de l'instrument est ici le témoin des dynamiques historiques et sociales, que l'accordéon présente la particularité d'avoir intégrées dans sa forme-même du fait de sa rare plasticité, et qu'il permet d'éclairer. Statut des musiciens professionnels au sein d'une pratique restée massivement amateur, rôles et mécanismes de l'apprentissage d'un savoir traditionnel initialement basé sur l'oralité, fluctuation des attentes sociales à travers les générations successives, sont quelques-uns des aspects qui se dévoilent au fil de l'étude et qui se relient.À partir du constat d'une mutation organologique progressive, nous chercherons à comprendre les modifications profondes des fonctions sociales jouées par l'instrument. Un retour historique permettra de définir les intentions et le statut des « pionniers » du renouveau de l'accordéon diatonique breton dans les années 1970. En nous appuyant sur ce socle, nous montrerons comment l'accordéon en tant qu'outil est en interaction étroite et permanente avec le geste du musicien et avec son intention (produire des notes – et dans quelle fonction sociale), et combien le passage des générations a renouvelé le contexte d'exposition de l'accordéon et le statut des musiques bretonnes dites « à danser ». Ainsi, nous verrons que la modification progressive de l'intention a conduit à une modification de l'instrument, mais que celle-ci, en retour, fragilise l'efficacité des intentions antérieures
This work aims to understand why and how the Breton diatonic accordion has undergone a profound organological and stylistic transformation during the last decades. The evolution of the instrument here reflects the historical and social dynamics, that the accordion has integrated into its very form because of its rare plasticity, bringing them into light. The status of professional musicians in a largely amateur context, the roles and mechanisms of learning traditional knowledge initially based on orality, the fluctuation of social expectations through successive generations, are some of the aspects that unfold over the course of the study and connect with one-another.Starting from the observation of a progressive organologic change, we will seek to understand the profound changes of the social functions played by the instrument. A historical overview will allow to define the intentions and the status of the "pioneers" of the revival of the Breton diatonic accordion in the 1970s. Based on this foundation, we will show how the accordion as a tool is in close and permanent interaction with the musician's gesture and with his intention (producing notes – and in what social function), and how much the passage of generations has renewed the context of use of the accordion and the status of Breton music said "to be danced". Thus, we will see that the progressive modification of the intention led to a modification of the instrument, but that this, in turn, weakens the effectiveness of the previous intentions
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Gruning, Thomas Robert. "Crossroads of the ordinary contemporary singer/songwriters and the post-revival folk /." 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3120297.

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Hillhouse, Andrew. "Touring as Social Practice: Transnational Festivals, Personalized Networks, and New Folk Music Sensibilities." Thesis, 2013. http://hdl.handle.net/1807/43588.

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The aim of this dissertation is to contribute to an understanding of the changing relationship between collectivist ideals and individualism within dispersed, transnational, and heterogeneous cultural spaces. I focus on musicians working in professional folk music, a field that has strong, historic associations with collectivism. This field consists of folk festivals, music camps, and other venues at which musicians from a range of countries, affiliated with broad labels such as ‘Celtic,’ ‘Nordic,’ ‘bluegrass,’ or ‘fiddle music,’ interact. Various collaborative connections emerge from such encounters, creating socio-musical networks that cross boundaries of genre, region, and nation. These interactions create a social space that has received little attention in ethnomusicology. While there is an emerging body of literature devoted to specific folk festivals in the context of globalization, few studies have examined the relationship between the transnational character of this circuit and the changing sensibilities, music, and social networks of particular musicians who make a living on it. To this end, I examine the career trajectories of three interrelated musicians who have worked in folk music: the late Canadian fiddler Oliver Schroer (1956-2008), the Irish flute player Nuala Kennedy, and the Italian organetto player Filippo Gambetta. These musicians are all notable for their taste for transnational collaboration and their reputations as mavericks and boundary-pushers. Through case studies of their projects, relationships, and collaborative networks, I explore transformations in the collectivist folk ideal by focussing on how these musicians are implicated in three phenomena: transnational festivals, new folk music sensibilities, and touring as social practice. This research is based on multi-dimensional, multi-sited fieldwork undertaken in Toronto, Genoa, Edinburgh, and at various festivals in Europe and North America between 2007-2013. I conclude that Schroer, Kennedy, and Gambetta experience transnational folk music space as a field of intersecting transnationalisms that are imaginaries and collectivities of varying size and scope. While festivals in this space increasingly celebrate a transcultural ideal and foster the formation of transnational networks, stable, heterogeneous transnational relationships are proving more difficult to attain. I argue that touring on this circuit generates a desire for community continuity that becomes part of the poetics of new instrumental folk music.
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Mitchell, Gillian Anna Margaret. "The nation and national identity in the folk music revival movement of Canada and the United States from 1945 to 1980 /." 2004. http://proquest.umi.com/pqdweb?did=1192175601&sid=4&Fmt=2&clientId=12520&RQT=309&VName=PQD.

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Books on the topic "Folk Music Revival"

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Revival: A folk music novel. Portsmouth, N.H: Songsmith, 2011.

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Munro, Ailie. The folk music revival in Scotland. [Darby, Pa.]: Norwood Editions, 1989.

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Munro, Ailie. Democratic muse: Folk music revival in Scotland. Aberdeen: Scottish Cultural Press, 1996.

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Munro, Ailie. The democratic muse: Folk music revival in Scotland. Aberdeen: Scottish Cultural Press, 1996.

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Munro, Ailie. The democratic muse: Folk music revival in Scotland. Aberdeen: Scottish Cultural Press, 1997.

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Performing Russia: Folk revival and Russian identity. New York, NY: RoutledgeCurzon, 2004.

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Cohen, Norm. Folk song America: A 20th century revival. Washington, D.C: Smithsonian Collection of Recordings, 1990.

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When we were good: The folk revival. Cambridge, Mass: Harvard University Press, 1996.

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Fiddling for Norway: Revival and identity. Chicago: University of Chicago Press, 1997.

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Paul Clayton and the folksong revival. Lanham, Md: Scarecrow Press, 2008.

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Book chapters on the topic "Folk Music Revival"

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Wiseman-Trowse, Nathan. "Folk Revival and Folk Rock." In Performing Class in British Popular Music, 106–24. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230594975_6.

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DeWitt, Mark F. "Folk Revival Connection." In Cajun and Zydeco Dance Music in Northern California, 117–60. University Press of Mississippi, 2008. http://dx.doi.org/10.14325/mississippi/9781604730906.003.0006.

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DeWitt, Mark F. "Folk Revival Connection." In Cajun and Zydeco Dance Music in Northern California, 161–96. University Press of Mississippi, 2008. http://dx.doi.org/10.14325/mississippi/9781604730906.003.0007.

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Harker, Ben. "‘Workers’ Music’." In Red Strains. British Academy, 2013. http://dx.doi.org/10.5871/bacad/9780197265390.003.0008.

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Communists loomed large in the first decade of Britain's post-war folk music revival, and cultural historians have been quick to suspect a central Communist Party cultural policy co-ordinating activity. This chapter revisits the folk revival's communism, unsettling the received narrative. It challenges the usual periodization, which finds the revival's origins in the post-war period, by restoring to view pre-war communist engagements with folksong. It argues that once the revival was underway in the 1950s, the relationship between the Communist Party leadership and individual folk activists such as A. L. Lloyd and Ewen MacColl was more conflicted and removed than the standard narrative implies. At the same time, distinctly communist ideas about social formations, class, and oppositional culture became a co-ordinating common sense for the revival's left flank, taking on a new lease of life in the context of the emerging folk music scene.
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"History of the English Revival." In Folk Music of Britain - and Beyond, 109–40. Routledge, 2015. http://dx.doi.org/10.4324/9781315659619-14.

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"‘Its Music Was Folk’: Folk Revivalism and Socialist Politics." In Postwar Politics, Society and the Folk Revival in England, 1945–65. Bloomsbury Academic, 2020. http://dx.doi.org/10.5040/9781350071247.ch-003.

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Inserra, Incoronata. "A Brief History of the Tarantella Revival." In Global Tarantella. University of Illinois Press, 2017. http://dx.doi.org/10.5622/illinois/9780252041297.003.0002.

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This chapter offers an overview of the post-1990s tarantella revitalization in Italy, particularly of the much-popularized pizzica subgenre from the Salento area, by looking at the local and national festival scene, as well as music and video production, while also exploring the increasing visibility of tarantella within Italian popular and mainstream culture. Moreover, it explores national and international scholarly debates regarding this revitalization phenomenon and situates these debates within the current scholarship on the Italian Southern Question. Finally, the chapter juxtaposes the current revival of Southern Italian folk music with the 1970s folk music revival in Italy, particularly in relation to its left-wing ideology and as a foray into changing revival dynamics at play within Italian folk revival context.
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"‘Folk Song without Folk’: An Introduction to Folk Music Revivalism in Twentieth-Century England." In Postwar Politics, Society and the Folk Revival in England, 1945–65. Bloomsbury Academic, 2020. http://dx.doi.org/10.5040/9781350071247.ch-001.

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Levin, Theodore. "Dmitri Pokrovsky and the Russian Folk Music Revival Movement." In Retuning Culture, 14–36. Duke University Press, 1996. http://dx.doi.org/10.1215/9780822397885-002.

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Lornell, Kip. "Country Gentlemen and the Folk Music Revival (1957–1966)." In Capital Bluegrass, 85–149. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199863112.003.0003.

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The Country Gentlemen (perhaps the most nationally acclaimed of the bluegrass genre’s second-generation bands) are at the core of this chapter. During this period record labels across the United States took a greater interest in local bands and more of them appeared on 45 rpm discs and, secondarily, albums. The most important local label, Rebel Records, started the same year (1960) that weekend bluegrass festivals debuted in nearby Berryville, Virginia. An increasing number of local venues were booking live local and regional bluegrass bands as well as national acts. Spurred by the folk music revival, among other factors like increased radio airplay, the general interest in bluegrass was clearly on the rise.
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