Journal articles: '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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Bondarenko, Andriy. "UKRAINIAN ELECTRONIC MUSIC IN GLOBALISATION AND NATIONAL REVIVAL." Scientific Journal of Polonia University 43, no. 6 (June 18, 2021): 9–15. http://dx.doi.org/10.23856/4301.

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The article considers the impact of globalisation and national revival processes on the development of electronic music in Ukraine. It is shown that in the early stages of development (the late 1990s – early 2000s) Ukrainian electronic music is dominated by the focus on Western European music culture, and early festivals of dance electronic music (“The Republic of Kazantip”, “Ultrasonic”) also borrow Russian traditions, which indicates the predominance of globalization and peripheral tendencies in this area. At the same time, the first creative searches related to the combination of electronic sounds with the sounds of Ukrainian folklore are intensified. In particular, the article considers the works of the 2000s-2010s by O. Nesterov and A. Zahaikevych, representing folk electronics in the academic sphere, and works by Katya Chilly, Stelsi, Kind of Zero representing folk electronics in non-academic music. The aesthetic basis of such combinations was the musical neo-folklore of the last third of the XX century and the achievements of folk rock in the late 1990s. Intensification of these searches in the late 2010s, in particular the popularity of such artists as Ruslana, Onuka, Go_A allow us to talk about intensifying the national revival processes in the musical culture of Ukraine and involving Ukrainian music in the world culture preserving its national identity.

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12

MERCER-TAYLOR, PETER. "Bill Staines's Bridges and the Art of Meta-Folk." Journal of the Society for American Music 1, no. 4 (November 2007): 423–52. http://dx.doi.org/10.1017/s1752196307070411.

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AbstractFolksinger-songwriter Bill Staines came of age at the height of the mid-twentieth-century American folk music revival and has spent the years since then writing and playing music that seems impelled by the conviction that this vanished era's core stylistic premises and clear-eyed optimism remain as alive and available as they were at the revival's peak. Through this exploration of his 1984 album Bridges, I seek to show that Staines accomplishes this fantasy of the revival's continued vitality not, as his commentators frequently suggest, by clinging fast to decades-old stylistic practices but by introducing a dimension of reflexivity into his craft. What comes to matter is not music's political or social meaning but the self-conscious celebration of the idea of music having such a meaning.The article's first section explores Staines's self-mythologizing enfolding of his own persona into Woody Guthrie's in the Guthrie ballad that opens the album. The second section examines Bridges' poetic weaving of music into narratives of social redemption and personal self-actualization. The third section examines Bridges' many moments of diegetic song, which effectively collapse the worlds of Staines's poetic subjects into that of his immediate audience. The last section explores how melodic choices in the traditional song that closes the album have the effect of bringing many of the songs that precede it directly into the fold of traditional music.

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MITCHELL, GILLIAN A. M. "Visions of Diversity: Cultural Pluralism and the Nation in the Folk Music Revival Movement of the United States and Canada, 1958–65." Journal of American Studies 40, no. 3 (November 22, 2006): 593–614. http://dx.doi.org/10.1017/s0021875806002143.

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This article focusses on the concept of cultural pluralism in the North American folk music revival of the 1960s. Building on the excellent work of earlier folk revival scholars, the article looks in greater depth at the “vision of diversity” promoted by the folk revival in North America – at the ways in which this vision was constructed, at the reasons for its maintenance and at its ultimate decline and on the consequences of this for anglophone Canadian and American musicians and enthusiasts alike.

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14

Prosterman, Leslie. "Folk Festivals Revisited." Practicing Anthropology 7, no. 1-2 (January 1, 1985): 15–16. http://dx.doi.org/10.17730/praa.7.1-2.372671065k418u5m.

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Folk festivals should not be confused with the gatherings of folk revival musicians or the traditional indigenous celebrations of shared values. Folklorists and administrators create folk (or folklife) festivals in order to demonstrate and nuture folkways. These events represent attempts to demonstrate traditional culture to the public in formats other than scholarly articles. They generally include traditional music, crafts and food in a performance and/or workshop format, aiming for a down-home spirit between performers and patrons. We describe these festivals variously as created, contrived, induced, constructed, synthetic, or simulated.

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15

Quist, Ned. "The British Folk Revival, 1944-2002 (review)." Notes 61, no. 3 (2005): 734–37. http://dx.doi.org/10.1353/not.2005.0029.

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Ling, Jan. "Folk Music Revival in Sweden: The Lilla Edet Fiddle Club." Yearbook for Traditional Music 18 (1986): 1. http://dx.doi.org/10.2307/768514.

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17

Wells, Paul F. "Roots and Revival: Two Recorded Perspectives of American Folk Music." Musical Quarterly 78, no. 2 (1994): 246–54. http://dx.doi.org/10.1093/mq/78.2.246.

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18

Redhead, Steve, and John Street. "Have I the right? Legitimacy, authenticity and community in folk's politics." Popular Music 8, no. 2 (May 1989): 177–84. http://dx.doi.org/10.1017/s0261143000003366.

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In the last few years, in Britain, one of pop's cycles has turned again and folk has come back into fashion. It can be seen in the success of the Pogues, in the reformation of Fairport Convention, in the revamping of the magazine Folk Roots, in the content of Andy Kershaw's Radio One show, and perhaps most dramatically in the celebration of ‘world music’. The revival of folk entails more than a revival of old names and sounds, it also contains a redefinition of the idea of ‘folk’ itself. This shift takes its clearest form in Folk Roots where the editor, Ian Anderson, displays equal enthusiasm for examples of almost every musical genre, from country to pop to ‘world music’ to traditional folk to soul to ‘roots rock’ (Ry Cooder, The Bhundu Boys, Kathryn Tickell, Paul Simon and the Voix Bulgares are all included). Folk no longer means ‘beards and Fair Isle jumpers’; it includes punk-influenced groups like the Mekons who see folk as an approach in which ‘the ineptitude of the playing becomes stylised and eventually becomes part of the music’ (Hurst 1986, p. 17). The musical eclecticism is linked by an underlying theory of the way good music is identified.

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Goertzen, Chris. "The Norwegian Folk Revival and the Gammeldans Controversy." Ethnomusicology 42, no. 1 (1998): 99. http://dx.doi.org/10.2307/852828.

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Gregory, David, and Ronald D. Cohen. "Rainbow Quest: The Folk Music Revival and American Society, 1940-1970." Labour / Le Travail 52 (2003): 301. http://dx.doi.org/10.2307/25149413.

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Wicke, Peter, and Ronald D. Cohen. "Rainbow Quest. The Folk Music Revival & American Society, 1940-1970." Lied und populäre Kultur / Song and Popular Culture 47 (2002): 220. http://dx.doi.org/10.2307/3595199.

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22

Francmanis, John. "National music to national redeemer: the consolidation of a ‘folk-song’ construct in Edwardian England." Popular Music 21, no. 1 (January 2002): 1–25. http://dx.doi.org/10.1017/s0261143002002015.

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The Musical Renaissance of the late Victorian era incurred both rediscovery and reappraisal of the English musical heritage. The isolated endeavours of a handful of pioneering collectors from the oral tradition stimulated the institution of a Folk-Song Society with the aim of gathering what remained of a rapidly disappearing national resource. This article examines competing interpretations of the nature and potential application of folk-song. Cecil Sharp, who quickly assumed leadership of the folk-song movement, adopted and refined the notion that communal origin and transmission imbued folk-song with the national character and spirit. Its strategic use in the education system would, he believed, promote not just musical revival but a general national revival as well. In counterpoint to Sharp's folk-song construct, the hiterto marginalised contribution of musical antiquarian Frank Kidson is reassessed. From an ever-diminishing position of authority, Kidson continued to dismiss Sharp's new orthodoxy by insisting that most of what passed for ‘folk’ was nothing more than the remnants of old popular song. The article concludes by seeking to explain why Sharp's construct endured.

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23

Russell, Ian. "Michael Brocken, The British Folk Revival, 1944–2002 (Aldershot: Ashgate, 2003), ISBN 0 7546 3281 4 (hb), 0 7546 3282 2 (pb)." Twentieth-Century Music 2, no. 2 (September 2005): 309–12. http://dx.doi.org/10.1017/s1478572206230299.

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For those of us who have lived with and through the second British folk music revival, it seems most apt that this important chapter of our lives should merit a serious academic history. We watched and were part of a radical youth movement that grew phenomenally in the late 1950s, burgeoned in the 60s, stumbled and stagnated through the 70s, but recovered its composure to mature in the late 80s; and now, half a century on, the fruits of this movement have become an established and significant part of the nation’s soundscape, as much a part of British culture as brass bands or choral singing. Much work has been and is being done to document every twist and turn of this revival, meticulously noting the key players, the setting up of clubs and festivals, broadcasting and recording developments, and so on; and, understandably, there is a welter of data on which to draw, including key witnesses to consult. One could argue that such histories are primarily of interest to the insider. But Brocken’s study, by contrast, attempts to take the view of the outsider, analysing the political agenda of the ‘revival’s’ architects and assessing its impact in terms of cultural studies as an aspect of popular music – in itself a most laudable enterprise.

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24

Bradtke, Elaine, and Georgina Boyes. "The Imagined Village: Culture, Ideology and the English Folk Revival." Ethnomusicology 39, no. 3 (1995): 500. http://dx.doi.org/10.2307/924636.

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Nedlina, Valeriya E. "Reinterpretation of Cultural Heritage in Music Art in Kazakhstan between 1980 and 2010." Observatory of Culture, no. 2 (April 28, 2015): 47–52. http://dx.doi.org/10.25281/2072-3156-2015-0-2-47-52.

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Addresses the new approaches to the study of folk music, revival of ethnic traditions, intensification of exchange with foreign countries, updating academic music, and dissemination of mass culture with specific ethnic components that characterise the process. That type of reinterpretation produces a more complicated structure of musical culture in Kazakhstan and a new evaluation of the place of Kazakh music in world culture.

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Cooper, B. Lee. "Roots of the Revival: American and British Folk Music in the 1950s." Popular Music and Society 39, no. 2 (April 7, 2015): 265–68. http://dx.doi.org/10.1080/03007766.2015.1028228.

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Shortlidge, Jack. "Rainbow Quest: The Folk Music Revival and American Society, 1940-1970 (review)." Journal of American Folklore 119, no. 471 (2006): 129–30. http://dx.doi.org/10.1353/jaf.2006.0010.

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Adelstein, Rachel. "Folk City: New York and the American Folk Music Revival by Stephen Petrus and Ronald D. Cohen." Notes 73, no. 2 (2016): 271–73. http://dx.doi.org/10.1353/not.2016.0119.

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HOOKER, LYNN. "Controlling the Liminal Power of Performance: Hungarian Scholars and Romani Musicians in the Hungarian Folk Revival." Twentieth-Century Music 3, no. 1 (March 2007): 51–72. http://dx.doi.org/10.1017/s1478572207000321.

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AbstractIn the Hungarian folk revival, Hungarian Roma (Gypsies) serve as both privileged informants and exotic Others. The musicians of the revival known as the táncház (dance-house) movement rely heavily on rural Rom musicians, especially those from Transylvania, as authentic sources of traditional Hungarian repertoire and style. Táncház rhetoric centres on the trope of localized authenticity; but the authority wielded by rural Rom musicians, who carry music both between villages and around the world, complicates the fixed boundaries that various powerful stakeholders would place on the tradition. Drawing on media sources and on fieldwork in Hungary and Romania, I examine how authenticity and ‘Gypsiness’ are presented and controlled by the scholars, musicians, and administrators who lead the táncház movement, in particular in the context of camps and workshops dedicated to Hungarian folk music and dance. Organizers often erect clear boundaries of status, genre, and gender roles through such events, which, among other things, address the anxiety raised by Rom musicians’ power in liminal spaces. In addition, I look at how Rom musicians both negotiate with the táncház’s aesthetic of authenticity and challenge it musically. Finally, I discuss how musicians and the crowds that gather to hear and dance to their music together create a carnival atmosphere, breaking down some of the boundaries that organizers work so hard to create. Throughout, I demonstrate that liminality is an extraordinarily pertinent lens through which to view Roma participation in the Hungarian folk music scene.

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Refael, Shmuel. "The Judeo-Spanish Folk Songs in Israel: Sephardic Music and Literature between Survival and Revival." European Journal of Jewish Studies 9, no. 1 (April 21, 2015): 38–51. http://dx.doi.org/10.1163/1872471x-12341271.

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The aim of this article is to examine the growing interest and involvement with Ladino folk songs in Israel in recent years. Its particular focus is on an overview of the stage performances, the rerecording of Ladino songs by a new generation of artists, and the inclusion of Sephardic music in the growing repertoire of Israeli folk music. The article presents a socio-cultural survey that attempts to answer the following questions: Is the growing involvement with Ladino folk songs in the realm of conservation—in other words, repetition—of the age-old Ladino cultural heritage, or are we witnessing a cultural process whose main thrust is appropriation and whose goal is to use new instruments to bring the cultural wealth from the past into the present and present it to a new generation, not necessarily the current generation of the Sephardic ethnic group?

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Morgenstern, Felix. "Voices of ambiguity – The GDR folk music revival movement (1976–1990): exploring lived musical experience and post-war German folk music discourses." Folk Life 56, no. 2 (July 3, 2018): 116–29. http://dx.doi.org/10.1080/04308778.2018.1501956.

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32

Carter, Dale. "A bridge too far? Cosmopolitanism and the Anglo-American folk music revival, 194565." European Journal of American Culture 29, no. 1 (January 1, 2010): 35–51. http://dx.doi.org/10.1386/ejac.29.1.35/1.

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McCann, May. "Music and politics in Ireland: The specificity of the folk revival in Belfast." British Journal of Ethnomusicology 4, no. 1 (January 1995): 51–75. http://dx.doi.org/10.1080/09681229508567238.

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SKINNER, KATHERINE. "‘Must Be Born Again’: resurrecting the Anthology of American Folk Music." Popular Music 25, no. 1 (January 2006): 57–75. http://dx.doi.org/10.1017/s0261143005000735.

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Since the 1997 reissue of the 1952 Anthology of American Folk Music by Smithsonian Folkways Recordings, journalists, scholars and musicians have promoted this collection as the ‘founding document’ (Marcus 1997) and ‘musical constitution’ (Cantwell 1996) of the urban folk revival of the 1950s and 1960s. This reception differs markedly from that of its original issue, which sold few copies and attracted only minor critical attention. This article provides an account of the transformation in the Anthology's cultural status – showing that the canonisation of the Anthology stems not just from its content, but from the interplay of its content and its sociohistorical context. I identify some of the factors that influenced the retrospective consecration of the Anthology, including the important work of key people, the growth of a new field (‘Americana’ music) and changes in the organisational structures of the recording industry.

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35

BRIAN JONES. "Finding the Avant-Garde in the Old-Time: John Cohen in the American Folk Revival." American Music 28, no. 4 (2010): 402. http://dx.doi.org/10.5406/americanmusic.28.4.0402.

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36

Murzaliyeva, Sajana S., and Galiya T. Akparova. "Folk Music Revival and Contemporary Tendencies of the National Traditions of Kazakhstan’s Musical Culture." Music Scholarship / Problemy Muzykal'noj Nauki, no. 4 (December 2020): 206–16. http://dx.doi.org/10.33779/2587-6341.2020.4.206-216.

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Eydmann, Stuart. "The concertina as an emblem of the folk music revival in the British Isles." British Journal of Ethnomusicology 4, no. 1 (January 1995): 41–49. http://dx.doi.org/10.1080/09681229508567237.

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38

Eyerman, Ron, and Scott Barretta. "From the 30s to the 60s: The folk music revival in the United States." Theory and Society 25, no. 4 (August 1996): 501–43. http://dx.doi.org/10.1007/bf00160675.

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Conway, Paul, and Robert B. Markum. "Performers First: Gift Exchange and Digital Access to Live Folk Music Archives." American Archivist 82, no. 2 (September 2019): 566–97. http://dx.doi.org/10.17723/aarc-82-02-08.

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Archives commonly hold full, unedited, and unpublished recordings of live musical performances, particularly those archives that focus their collecting on local communities. Much of this content resides on deteriorating magnetic tape with highly restrictive intellectual property constraints that threaten its digital future. This article explores a possible resolution of this dilemma of preservation and access by giving preference to the perspectives and prerogatives of the musical artists represented on live folk music recordings. The article characterizes The Ark in Ann Arbor and the at-risk recordings made at this nationally recognized coffeehouse between 1969 and 1980 in the context of the late-era folk revival scene in the United States and the challenges that copyright restrictions pose for making digitized copies available to contemporary audiences. The authors present and discuss the findings of innovative memory triggering interviews with folk music performers that point toward a way to extend into the realm of digital surrogates a philosophy of the gift exchange cycle. The article argues that archives could embrace asynchronous digital streaming as an extension of the well-established folk process that is so central to the intimacy of the coffeehouse and sidestep if not completely mitigate the barriers imposed by today's intellectual property framework.

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Balogh, Balázs, and Ágnes Fülemile. "Cultural alternatives, youth and grassroots resistance in socialist Hungary — The folk dance and music revival." Hungarian Studies 22, no. 1-2 (September 2008): 43–62. http://dx.doi.org/10.1556/hstud.22.2008.1-2.4.

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Anufrieva, N. I., and T. A. Lomakina. "Avant-Garde Appearance of Russian Folklore in the Vocal and Instrumental Works of Composers of the Second Half of the ХХth Century." Uchenye Zapiski RGSU 19, no. 3 (September 30, 2020): 137–44. http://dx.doi.org/10.17922/2071-5323-2020-19-3-137-144.

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in the second half of the twentieth century, when the avant-garde proposed truly revolutionary principles for organizing the sound environment, not only the treasures of ancient Russian church music were rediscovered, but also the interest in Russian spiritual culture as a whole, including musical folklore, significantly increased. Russian society at the end of the century was engulfed in disbelief, disappointment, fatigue. Hence there are images of the “decaying” world, the end of the world. The apocalyptic situation manifested itself not only in the fire of civil wars, but also in the feeling of disharmony of people with themselves and with others. As a result, domestic culture began to return to the fold of universal human values, eternal problems and traditional ideas about peace and good. This article considers the basic principles of the implementation of musical folklore in the vocal and instrumental works of domestic avant-garde composers of the second half of the twentieth century. It is noted that neo-folklorism, which arose in domestic music in the 1980–1990s in connection with the idea of national revival, through the semantics of rite, cult archaic, means of folk musical language, strengthened the Russian roots of domestic culture and strengthened the national philosophical heritage embedded in folk music.

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42

Patton, Billy. "The Folk Music Revival in Scotland. By Munro Ailie. London: Kahn and Averill, 1984. 359 pp." Popular Music 5 (January 1985): 276–78. http://dx.doi.org/10.1017/s0261143000002129.

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Haring, Lee. "Which Side Are You On? An Inside History of the Folk Music Revival in America (review)." Journal of Folklore Research 43, no. 2 (2006): 188–91. http://dx.doi.org/10.1353/jfr.2006.0016.

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Smyrnova, Tetyana. "MUSIC AND CHOIR EDUCATION IN UKRAINE XVI–XVIII СЕNTURIES." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 28–32. http://dx.doi.org/10.36550/2415-7988-2021-1-195-28-32.

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The article analyzes the development of music and choral education during the Slavic Renaissance and Ukrainian Baroque. The special significance of the ideas of spirituality and the revival of Ukrainian-Slavic values of religious and folk singing is revealed in view of the absence of statehood, the decline of Orthodox musical traditions. The significance of the reformist ideas of «purification of the church» and the culture of the Enlightenment is highlighted. Positive results of the development of music and choral education on the basis of Renaissance-Baroque (Cossack) Ukrainian culture were revealed. The value of Cossack-kobzar music and choral education, regional music and choral schools, the phenomenon of Kyiv-Mohyla Academy is emphasized. The analysis of scientific sources testifies to the intensive development of music and choral education in Ukraine during the sixteenth and eighteenth centuries, which took place in difficult conditions of the liberation struggle of Ukrainians for national culture, spirituality and consciousness. The achievements of the national music and choral education of the Slavic Renaissance include the preservation of ideas and traditions of the post-Byzantine Balkan-Slavic culture of Orthodox singing (monasteries, parish schools); appeal to Roman Catholic music and choral education (Jesuit, Latin, Protestant, Uniate secondary and higher institutions); a bright revival of humanistic and educational slogans, traditions of national music and choral education, which took place taking into account European achievements (Ostroh Academy, fraternal schools). Musical and choral education of the Hetmanate (Ukrainian Baroque), despite the gradual destruction of statehood, was marked by the revival of Ukrainian culture of the Renaissance-Baroque (Cossack) type. Centers of kobzar-Cossack music and choral education and culture, regional singing schools, spiritual and singing Orthodox culture flourished (Kyiv-Mohyla Academy, monastic, hierarchical, secular city centers) flourished. Ukrainian music and choral education was glorified by the geniuses of the Ukrainian people M. Diletsky, D. Rostovsky, D. Bortnyansky, M. Berezovsky, A. Wedel, G. Skovoroda. The prospects for further research include a systematic analysis of trends in music and choral education in Ukraine in the populist period.

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Quist, Ned. "Which Side Are You On: An Inside History of the Folk Music Revival in America (review)." Notes 63, no. 4 (2007): 879–81. http://dx.doi.org/10.1353/not.2007.0093.

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Cullen, Jim. "Reviews of Books:Rainbow Quest: The Folk Music Revival and American Society, 1940-1970 Ronald D. Cohen." American Historical Review 108, no. 5 (December 2003): 1482–83. http://dx.doi.org/10.1086/530047.

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Jovanovic, Jelena. "Folklore motives in the early compositions of Nikola Borota - Radovan." Muzikologija, no. 16 (2014): 173–92. http://dx.doi.org/10.2298/muz1416173j.

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The creative work of Nikola Borota - Radovan (musician, composer, lyricist, arranger and record producer, based in New Zealand - formerly from Yugoslavia) held a specific place in development of world music (poly)genre in his native homeland in the early 1970s. This study focuses on his creative principles, applied to works published between the years 1970 and 1975 (while the role of these works in social, cultural and political context of the time and place will be elaborated in another study, see Jovanovic 2014). The platform established to present this unique musical approach authenticaly was called kamen na kamen (a studio and stage outfit that has included number of collaborations over many years). Based on the musical models and aethetics of the folk revival and created under influence of The Beatles?, in adition to many other popular music production directions of the era, Borota?s works reveal significant musical, performance and production qualities, innovative expression and musical solutions, that need to be percieved from the contemporary (ethno)musicological point of view. Despite the fact that many prominent creative Yugoslav musicians of the time also worked within a similar framework I would argue that Mr. Borota?s creative outcome was signifficantly different from other Yugoslav popular music creative efforts. This is particularly noticeable in the author?s unique treatment of South-European and other folklore motives, which is the main topic of this study. Folk (ethnic) idioms exploited by Mr. Borota in his compositions originate from the rural traditions of western Dinaric regions. This is especially true for the rhythmic formations of deaf or silent dance; for the semi-urban and urban tradition of the Balkans and the Mediterranean; Middle European traditions; traditions from non-European peoples; elements of Italian Renaissance; and international (mostly Anglo-American) musical models. Compositions are analysed partly in accordance with the principles presented by Philip Tagg (1982), and following the principles of the ?Finnish method? in ethnomusicology. According to my best knowledge, there was no previous comparable (ethno) musicological ellaboration of folk revival, Beatlesque influences and early forrays into world music within Yugoslav popular music culture. I therefore consider this study to be the first contribution to the research in this subject.

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48

Doering, James M. "Roads Rapidly Changing: In and Out of the Folk Revival, 1961–1965 by Bob Dylan." Notes 72, no. 3 (2016): 603–4. http://dx.doi.org/10.1353/not.2016.0025.

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49

Smith, G. E. "The North American Folk Music Revival: Nation and Identity in the United States and Canada, 1945-1980. By Gillian Mitchell." Music and Letters 89, no. 4 (November 1, 2008): 687–90. http://dx.doi.org/10.1093/ml/gcm127.

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50

Quist, Ned. "Gone to the Country: The New Lost City Ramblers & the Folk Music Revival (review)." Notes 68, no. 2 (2011): 385–87. http://dx.doi.org/10.1353/not.2011.0185.

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Journal articles on the topic 'Folk Music Revival'

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