654:. It also brought a greater familiarity with American roots music and helped expand the British folk club movement where American folk music also began to be played and which were an important part of the second revival. This started in London where MacColl began the Ballads and Blues Club in 1953. These clubs usually met in urban locations, but the songs sung in them often harked back to a rural pre-industrial past. In many ways this was the adoption of abandoned popular music by the middle classes. By the mid-1960s there were probably over 300 folk clubs in Britain, providing an important circuit for acts that performed traditional songs and tunes acoustically, where some could sustain a living by playing to a small but committed audience. Some clubs developed policies around their musical preferences and which artists they would book. These ranged from "the rural idyll" through "anything which entertains" to "stick to your own culture," the latter meaning "if you're British don't copy American songs and styles." Artists such as
931:
52:
389:
231:
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363:, known as the English "national" or "pastoral" school. Sharp, among others, promoted the revival of English folk music as a response to the commonly held view that English art music since the death of Henry Purcell had relied heavily on European composers and styles and was therefore indistinguishable from other national forms. This connection between the English folk revival and the
1029:, began to dominate. Although many acts such as Martin Carthy and the Watersons continued to perform successfully, there were very few significant new acts pursuing traditional forms in the 1980s. This all began to change with a new generation in the 1990s, often children of major figures in the second revival. The arrival and sometimes mainstream success of acts such as
443:, which were sometimes records of existing songs and sometimes the origin or transmission point for others. Although collectors, from Grainger in 1905 onwards, experimented with new recording technology, it was generally rejected and there was a concentration on transcribing folk song in Britain, in contrast to America, where in a parallel movement
646:" (1956) it dovetailed with the growth of café youth culture, where skiffle bands with acoustic guitars, and improvised instruments such as washboards and tea chest bass, played to teenage audiences. Beside the many later jazz, blues, pop and rock musicians that started performing in skiffle bands were a number of future folk performers, including
762:
visitors. Few were rural workers, but those who could be said to belong to the urbanised middle class were unlikely to include entrepreneurs, landlords, stockbrokers or senior civil servants. Despite these issues, and the limited scale of the revival, it ensured the continuation of
British folk music as a living and performed tradition.
27:
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
371:(1966)). In any case, the search for a distinctive English voice led many composers, such as Percy Grainger (from 1905), Ralph Vaughan Williams (from about 1906) and George Butterworth (from about 1906), to use their folk music discoveries directly in composition. Vaughan Williams was also the editor of the
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saw their view of the industrialised working class and "urban" songs in general as romantic as Sharp had been about agricultural workers. Since most folk clubs were located in cities and towns, their audiences were a mix of mainly urban workers, professionals, intellectuals, students, activists and
473:
meant that from the 1920s
American music began to be increasingly important and even dominant in popular British culture, leading to a further sharp decline in traditional music. British folk song might have become a purely academic interest had it not been for a second wave of revival with a very
26:
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
338:
from 1904 to 1909 and founded the
English Folk Dance Society in 1911, an indication of his parallel interest in dance music. His lectures and other publications attempted to define a musical tradition that was rural in origin, oral in transmission and communal in nature. In Scotland collectors
849:, who from 1967 incorporated a range of influences including medieval and eastern music into their compositions. Some of this, particularly the Incredible String Band, has been seen as developing into the further subgenre of psych or psychedelic folk and had a considerable impact on
272:
The significance of Engel's influence on the development of the
English folk revival is evident in both the close resemblance of folk music collectors' activities to the fieldwork model he suggested and in the explicit references made by Cecil Sharp to Engel's essays in
59:
Social and cultural changes in
British society in the early modern era, often seen as creating greater divisions between different social groups, led from the mid-17th century to the beginnings of a process of rediscovery of many aspects of popular culture, including
460:
Folk-song collecting continued after World War I, but the nationalist impulse had subsided and with the tradition disappearing there were fewer singers available as sources. In 1932 the Folk-Song
Society and the English Folk Dance Society merged to become the
240:
These developments, perhaps combined with changes in the nature of
British identity, led to a much more intensive and academic attempt to record what was seen as a vanishing tradition, now usually referred to as the first English or British folk revival.
249:
The first
British revival concentrated on transcribing, and later recording, songs by remaining performers. An important catalyst for the rapid expansion of this movement around the turn of the 20th century was the work of German expatriate musicologist
904:, but these can also be considered the first among the British 'folk troubadours' or 'singer-songwriters', individual performers who remained largely acoustic, but who relied mostly on their own individual compositions. The most successful of these was
662:
refused to confine themselves to rural or even early industrial songs, but wrote or brought burning political issues into their repertoire. Other artists who built a reputation performing traditional songs in British clubs included English singers the
953:, and on the British folk revival. It uses traditional music, and compositions in a traditional style, played on a combination of rock and traditional instruments. It was most significant in the 1970s, when it was taken up by groups such as Pentangle,
820:
music, which attempted to elevate folk music through greater musicianship, or compositional and arrangement skills. Many progressive folk performers continued to retain a traditional element in their music, including Jansch and Renbourn who, with
745:, as well as major figures on the folk scene including Martin Carthy. From the 1980s they also began to reissue their back catalogue on CD. In the late 1990s, with the resurgence of traditional folk, spearheaded by children of the revival such as
601:
However, the second revival differed in several important respects from the first. In contrast to Sharp's emphasis on the rural, the activists of the second revival, particularly Lloyd, emphasized the work music of the 19th century, including
267:
there are English musicians in London and in the large provincial towns who might achieve good results if they would spend their autumnal holidays in some rural district of the country, associate with the villagers, and listen to their songs.
385:(1862–1934) wrote music that adopted sections, cadences or themes from English folk music. By the 1940s this particular tendency among composers had begun to subside and other fusions would be more significant in the second folk revival.
258:
rather singular that England should not possess any printed collection of its national songs with the airs as they are sung at the present day; while almost every other European nation possesses several comprehensive works of this kind.
334:(1882–92) has been the most influential on defining the repertoire of subsequent performers and the music teacher Cecil Sharp was probably the most important in understanding of the nature of folk song. Sharp produced the five volume
451:
from 1933. This is thought to have created difficulties, since subtleties of performance have been lost and collectors often adjusted notation to fit their own, often classical, views of music or to fit their own preconceptions.
892:, but commercial success was elusive for these bands and most had broken off, or moved in very different directions, by about 1973. Perhaps the finest individual work in the genre was from early 1970s artists such as
513:, the second revival was a part of the birth of non-traditional contemporary folk music. Like the American revival, it was often overtly left wing in its politics, and the leading figures, the Salford-born
129:. It was printed three times in the next twenty years, and contained seventy-seven songs, of which twenty-five were of Scottish origin. In the 18th century publications included Playford's
524:
Several individuals emerged in England who had learnt the old songs in the oral tradition from their communities and therefore preserved the authentic versions. These individuals, such as
757:
Criticisms of the second revival include disagreements about native language, style, accompaniment and authenticity. Critics of the approach pursued by MacColl/Seeger and their adherents
1017:
and festivals helped prop up traditional music, from the late 1970s the attendance at, and numbers of, folk clubs began to decrease, probably as new musical and social trends, including
1061:, all largely concerned with acoustic performance of traditional material, marked a radical turnaround in the fortunes of the tradition. This was reflected in the introduction of the
616:(1963). It also took a more charitable view of the ‘morally dubious’ elements of traditional folk than the first revival, with Lloyd recording an entire album of erotic folk songs, '
431:
The first revival has been criticized, particularly by David Harker, as having a romanticized view of agricultural society, of ignoring urban and industrial forms of music such as
993:
and its derivatives. It has been influential in those parts of the world with close cultural connections to Britain, such as the US and Canada, and gave rise to the subgenre of
114:(1765). The last of these also contained some oral material and by the end of the 18th century this was becoming increasingly common, with collections including Joseph Ritson's
359:
in 1906 officially sanctioned the teaching of folk songs in schools. One of the major effects of the folk song revival was the creation of a distinctive English form of
439:
the texts. The focus on collecting performed songs also disregarded the complex, but important, relationship between printed and oral forms, particularly the role of
1005:. By the 1980s the genre was in steep decline in popularity, but has survived and revived in significance as part of a more general folk resurgence since the 1990s.
729:
became heavily involved, producing several records of traditional music. In 1960 the label became independent and was financially secure after the release of
1893:
351:
There was a strong nationalist element in the motivation for collecting folk song. As part of a general mood of growing nationalism in the period before the
202:. Awareness that older forms of song were being abandoned prompted renewed interest in collecting folk songs during the 1830s and 40s, including the work of
916:
in 1974, and whose music is clearly folk, but without and much reliance on tradition, virtuosity, or much evidence of attempts at fusion with other genres.
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1503:
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from 1952 to 1958, which probably did more than any other single factor to introduce the general population to British and Irish folk music in the period.
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in 2000, which gave the music a much-needed status and focus and made the profile of folk music as high in Britain as it has been for over thirty years.
95:
617:
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for orchestra (1880–81, 1911), and in various concerted works for piano or violin and orchestra composed during the 1880s and 1890s. Similarly,
1994:
367:
movement has been heavily emphasized in historical accounts of English art music throughout the 20th century (for example, see Frank Howes,
2329:
1094:
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and folk scenes. Their music often uses traditional instruments beside electronic music. London's nu-folk scene includes artists such as
1886:
1587:
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1543:
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2319:
330:
98:, 1st Earl of Oxford and Mortimer (1661–1724). In the 18th century there were increasing numbers of such collections, including
377:(1906) and used many collected tunes and set poems to them to produce new religious songs. Similarly, other composers such as
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2188:
1948:
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in 1967. Others totally abandoned the traditional element and in this area particularly important were the Scottish artists
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The second revival in Britain followed a similar movement in America, to which it was connected by individuals such as
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There was a brief flowering of British progressive folk in the late 1960s and early 1970s, with groups such as the
198:
was intensified and the themes of popular music began to change from rural and agrarian life to include industrial
107:
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The second revival built on the work of the first, exploiting many of its resources. MacColl recorded many of the
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400:
142:
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The fusing of various styles of American music with British folk also helped to create a distinctive form of
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Ancient and modern Scottish songs, heroic ballads, etc.: collected from memory, tradition and ancient authors
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1715:
How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom
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82:
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and Lloyd eventually joined the board of the EFDSS. The society was also responsible for sponsoring a
1921:
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and who worked in England and Scotland. Unlike the first revival, which wholly concerned itself with
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Discourse on Popular Culture: Class, Gender, and History in Cultural Analysis, 1730 to the Present
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254:, who provocatively claimed, in a collection of essays published in 1879, that it seemed to him:
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36:
76:. This led to a number of early collections of printed material, including those published by
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1407:(Aldershot: Ashgate, 2003), pp. 6, 8, 32, 38, 53–63, 68–70, 74–8, 97, 99, 103, 112–4 and 132.
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in 1963. In the 1970s Topic released a series of albums by ground-breaking artists including
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408:
195:
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In Scotland the earliest printed collection of secular music was by publisher John Forbes in
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and that in Scotland, centred on Glasgow and with a more Celtic tinge, with artists such as
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215:
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incorporates a number of movements for the collection, preservation and performance of
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In the 2000s bands and artists appeared who function as cross-over acts between the
721:, founded as an offshoot of the Workers' Music Association in 1939. From about 1950
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British folk rock developed in Britain during the mid- to late 1960s by the bands
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The expansion of the revival scene has been attributed to the short-lived British
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1788:
The Rough Guide to Rock: the definitive guide to more than 1200 artists and bands
1038:
676:
352:
841:(who was most influenced by emerging progressive folk musicians in America like
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Songs and Fancies: to Thre, Foure, or Five Partes, both Apt for Voices and Viols
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2020:
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965:. It was rapidly adopted and developed in the surrounding Celtic cultures of
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following the eastern Indian musical and more abstract work by group such as
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32:
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1498:"Larner, Samuel James [Sam] (1878–1965), fisherman and folk-singer"
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172:
87:
1588:"Fred Jordan - A Shropshire Lad CD review - The Living Tradition Magazine"
717:
A significant factor in the early growth of the revival was the output of
304:(1863–1954). Kidson and Broadwood were important in the foundation of the
183:
and published between 1799 and 1818 included contributions from Burns and
139:
Choice Collection of Comic and Serious Scots Poems both Ancient and Modern
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340:
309:
1828:
D. Else, J. Attwooll, C. Beech, L. Clapton, O. Berry, and F. Davenport,
1457:
Fake Song: the Manufacture of British "folksong" 1700 to the Present Day
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28:
23:
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Among the most influential of the revival's earliest figures were the
2405:
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The Imagined Village: Culture, Ideology, and the English Folk Revival
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998:
950:
842:
830:
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544:, released albums of their own and were revered by folk revivalists.
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230:
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61:
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and Calum McLean who collected songs and popularised acts including
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2140:
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2030:
986:
978:
966:
122:
65:
1379:, (Stanford CA: Stanford University Press, 1989), pp. 122 and 129.
171:, published in six volumes from 1787 to 1803 by James Johnson and
1014:
838:
635:
281:
165:(1776). These were drawn on for the most influential collection,
482:
2442:
2135:
2015:
1742:
S. Broughton, M. Ellingham, R. Trillo, O. Duane and V. Dowell,
1620:"Pardon, Walter William (1914–1996), carpenter and folk-singer"
1054:
521:, were both involved in trade unionism and socialist politics.
308:
in 1898. Later, major figures in this movement in England were
1152:, takes many cues from British, Irish and Scottish folk music.
399:
Similar developments could be seen in Scotland in the work of
1233:
Electric Folk: The Changing Face of English Traditional Music
1008:
781:
69:
1729:
S. Broughton, M. Ellingham, R. Trillo, O. Duane, V. Dowell,
1296:
Ancient Poems, Ballads and Songs of the Peasantry of England
220:
Ancient Poems, Ballads and Songs of the Peasantry of England
55:
Title page of the 1st edition of The Dancing Master (1651)
2477:
2035:
1775:
Turn on Your Mind: Four Decades of Great Psychedelic Rock
1261:(Edinburgh: Edinburgh University Press, 2005), pp. 193–4.
1277:(Manchester: Manchester University Press, 1993), p. 214.
423:(1911) incorporated traditional Scottish folk melodies.
343:(1856–1914), and in Wales, Nicholas Bennett (1823–99).
328:(1882–1961). Of these, Child's eight-volume collection
1472:(Cambridge: Cambridge University Press, 2005), p. 245.
1446:(Edinburgh: Edinburgh University Press, 2005), p. 196.
1420:(Cambridge: Cambridge University Press, 1990), p. 472.
1790:(London: Rough Guides, 2003), pp. 145, 211–12, 643–4.
749:, Topic gained both commercial and critical success.
1544:"Cox, Harry Fred (1885–1971), farmworker and singer"
339:included the Reverend James Duncan (1848–1917) and
147:
Orpheus caledonius: or, A collection of Scots songs
1618:
1542:
1496:
1235:(Oxford: Oxford University Press, 2005), pp. 31–8.
1733:(London: Rough Guides, 1999), pp. 66–8 and 79–80.
1364:Grove's Dictionary of Music and Musicians, vol. 3
2655:
1725:
1723:
1483:Sound Tracks: Popular Music, Identity, and Place
346:
1901:
1433:(Oxford: Oxford University Press, 1999), p. 91.
1819:(Cambridge MA: Da Capo Press, 2001), pp. 1–12.
1470:America on Record: A History of Recorded Sound
1399:
1397:
1395:
1393:
1391:
1389:
1387:
1385:
1366:(St. Martin's Press., 6th edn., 1954), p. 410.
403:, who celebrated his native Scotland in three
175:, which also included new words by Burns. The
1887:
1756:
1754:
1752:
1720:
1459:(Milton Keynes: Open University Press, 1985).
1227:
1225:
1223:
1221:
1219:
1217:
1215:
1213:
1211:
1209:
1207:
1205:
1203:
1201:
1175:(London: Billing, 1978), pp. 3, 17–19 and 28.
1702:Blerwytirhwng?: the Place of Welsh Pop Music
1629:(online ed.). Oxford University Press.
1553:(online ed.). Oxford University Press.
1507:(online ed.). Oxford University Press.
1199:
1197:
1195:
1193:
1191:
1189:
1187:
1185:
1183:
1181:
1095:Findlay Napier and the Bar Room Mountaineers
104:Wit and Mirth: or, Pills to Purge Melancholy
1866:24 January 2010, retrieved 28 January 2010.
1860:"Findlay Napier likes the sound of nu-folk"
1475:
1382:
1335:. London: Novello, Ewer & Co. pp.
1314:. London: Novello, Ewer & Co. pp.
1269:
1267:
1167:
1165:
35:as well as influential subgenres including
1894:
1880:
1777:(Milwaukie MI, Hal Leonard, 2003), p. 120.
1749:
1369:
1009:Traditional folk resurgence 1990 – present
477:
435:and those performed in music hall, and of
225:
1178:
505:, who had moved to Britain in the era of
455:
1849:, 2009-10-05, retrieved 28 January 2010.
1843:"Mumford & Sons Sigh No More Review"
1822:
1264:
1162:
929:
780:
481:
465:(EFDSS). New forms of media such as the
387:
331:The English and Scottish Popular Ballads
244:
229:
50:
1626:Oxford Dictionary of National Biography
1550:Oxford Dictionary of National Biography
1504:Oxford Dictionary of National Biography
2656:
1764:(Aldershot: Ashgate, 2003), pp. 55–65.
1704:(Aldershot: Ashgate, 2007), pp. 59–60.
1664:"Frank Hinchliffe - In Sheffield Park"
1616:
1540:
1494:
1173:Popular Culture in Early Modern Europe
981:; and also in Scotland, Wales and the
949:, which built on elements of American
1875:
1832:(London, Lonely Planet, 2007), p. 75.
1746:(London: Rough Guides, 1999), p. 264.
1328:
1307:
1292:A Collection of National English Airs
1069:"Nu-folk"/"indie-folk" 2005 – present
212:A Collection of National English Airs
1717:(Aldershot Ashgate, 2007), pp, 65–6.
919:
590:, based on field recordings made by
1405:The British Folk Revival, 1944–2002
1288:Christmas Carols Ancient and Modern
1246:Four Centuries Of Scottish Psalmody
770:
699:and groups such as The Gaugers and
463:English Folk Dance and Song Society
275:English Folk-Song: Some Conclusions
208:Christmas Carols Ancient and Modern
86:(1651), the private collections of
13:
1762:The British Folk Revival 1944–2002
1691:(Black & White, 2006), p. 246.
937:in a Dutch television show in 1972
447:made extensive recordings for the
112:Reliques of Ancient English Poetry
14:
2690:
2259:Gramophone Classical Music Awards
1800:"Streets Of London, Ralph McTell"
1689:Scots: The Language of the People
1013:While in Scotland the circuit of
638:craze of 1956–58. Spearheaded by
547:In Scotland the key figures were
1332:The Literature of National Music
1311:The Literature of National Music
706:
324:(1885–1916), and the Australian
1852:
1835:
1809:
1793:
1780:
1767:
1736:
1707:
1694:
1681:
1656:
1610:
1580:
1534:
1488:
1462:
1449:
1436:
1423:
1410:
1356:
1248:(READ BOOKS, 2008), pp. 119–20.
977:; in Ireland by groups such as
369:The English Musical Renaissance
263:Engel went on to suggest that:
155:The Caledonian Pocket Companion
1817:Celtic Music: A Complete Guide
1353:(Backbeat Books, 2001), p. 55.
1343:
1322:
1301:
1290:(London, 1833); W. Chappell's
1280:
1251:
1238:
752:
610:, most obviously on the album
567:. In Wales the key figure was
316:(1885–1976) and the composers
312:(1859–1924) and his assistant
1:
1431:Edward Elgar: a Creative Life
623:
347:Revival and national identity
1744:World Music: The Rough Guide
1731:World Music: The Rough Guide
1650:UK public library membership
1574:UK public library membership
1528:UK public library membership
1485:(Routledge, 2003), pp. 34–6.
1294:(London, 1838) and R. Bell,
969:, where it was pioneered by
426:
118:(1792) in northern England.
7:
1903:Music of the United Kingdom
1146:The Wicker Man (soundtrack)
1116:American folk music revival
1104:
365:English Musical Renaissance
133:(1700), Margaret Sinkler's
10:
2695:
1481:J. Connell and C. Gibson,
923:
912:" reached number 2 in the
774:
710:
627:
210:(1833), William Chappell,
83:The English Dancing Master
46:
2601:
2530:
2523:
2501:
2434:
2348:
2287:
2226:
2217:
2181:
2079:
2003:
1957:
1909:
1804:BBC Radio 2, Sold on Song
1418:The Cambridge Music Guide
997:and the fusion genres of
765:
2340:Subscription plays chart
1958:History of popular music
1416:S. Sadie and A. Latham,
1156:
336:Folk Songs from Somerset
168:The Scots Musical Museum
2361:C2C: Country to Country
2239:BBC Radio 2 Folk Awards
1444:Modern Scottish Culture
1259:Modern Scottish Culture
1126:Irish traditional music
1063:BBC Radio 2 Folk Awards
673:Ian Campbell Folk Group
608:industrial labour songs
401:Sir Alexander Mackenzie
226:First revival 1890–1920
137:(1710), James Watson's
1635:10.1093/ref:odnb/63074
1559:10.1093/ref:odnb/57087
1513:10.1093/ref:odnb/57088
938:
847:Incredible String Band
816:. This led in part to
789:
618:'The Bird in the Bush'
575:record label in 1969.
498:
456:Second revival 1945–69
396:
318:Ralph Vaughan Williams
270:
261:
237:
56:
37:progressive folk music
2669:20th century in music
2664:19th century in music
1099:Pearl and the Puppets
933:
784:
485:
478:Nature of the revival
391:
265:
256:
245:Nature of the revival
233:
196:social stratification
192:Industrial Revolution
131:Original Scotch Tunes
116:The Bishopric Garland
106:(1719–20) and Bishop
54:
2011:British folk revival
1617:Palmer, Roy (2004).
1598:on 23 September 2021
1541:Palmer, Roy (2004).
1495:Palmer, Roy (2004).
1329:Engel, Carl (1879).
1308:Engel, Carl (1879).
743:The Battlefield Band
683:, and from Scotland
491:The Imagined Village
474:different emphasis.
177:Select Scottish Airs
90:(1633–1703) and the
20:British folk revival
2264:Ivor Novello Awards
2249:Classic Brit Awards
1965:Early popular music
1806:, 19 February 2009.
943:Fairport Convention
935:Fairport Convention
449:Library of Congress
405:Scottish Rhapsodies
290:Sabine Baring-Gould
286:Francis James Child
277:(1907, p. 2).
2674:British folk music
2401:Royal National Mòd
2004:Traditional genres
1121:English folk music
1087:Mumford & Sons
1083:Noah and the Whale
995:medieval folk rock
973:and bands such as
939:
796:playing known as ‘
794:fingerstyle guitar
790:
788:performing in 2008
571:, who founded the
499:
397:
357:Board of Education
322:George Butterworth
238:
57:
2679:Retro-style music
2651:
2650:
2647:
2646:
2519:
2518:
2510:God Save the King
2411:Reading and Leeds
2305:Compilation chart
1648:(Subscription or
1592:www.folkmusic.net
1572:(Subscription or
1526:(Subscription or
1131:Music of Scotland
926:British folk rock
920:British folk rock
910:Streets of London
890:Jan Dukes De Grey
759:The Critics Group
553:Jeannie Robertson
511:traditional music
441:broadside ballads
306:Folk Song Society
300:(1858–1939), and
204:William B. Sandys
92:Roxburghe Ballads
41:British folk rock
2686:
2634:Turks and Caicos
2528:
2527:
2300:Classical charts
2234:BBC Music Awards
2224:
2223:
1896:
1889:
1882:
1873:
1872:
1867:
1864:The Sunday Times
1856:
1850:
1839:
1833:
1826:
1820:
1813:
1807:
1797:
1791:
1784:
1778:
1771:
1765:
1758:
1747:
1740:
1734:
1727:
1718:
1713:R. F. Schwartz,
1711:
1705:
1698:
1692:
1685:
1679:
1678:
1676:
1674:
1660:
1654:
1653:
1645:
1643:
1641:
1622:
1614:
1608:
1607:
1605:
1603:
1594:. Archived from
1584:
1578:
1577:
1569:
1567:
1565:
1546:
1538:
1532:
1531:
1523:
1521:
1519:
1500:
1492:
1486:
1479:
1473:
1466:
1460:
1453:
1447:
1440:
1434:
1427:
1421:
1414:
1408:
1401:
1380:
1373:
1367:
1360:
1354:
1347:
1341:
1340:
1326:
1320:
1319:
1305:
1299:
1284:
1278:
1271:
1262:
1255:
1249:
1242:
1236:
1229:
1176:
1169:
1043:Spiers and Boden
1027:electronic music
914:UK Single Charts
855:psychedelic rock
818:progressive folk
800:’, pioneered by
777:Progressive folk
771:Progressive folk
644:Rock Island Line
584:BBC Home Service
549:Hamish Henderson
542:Frank Hinchliffe
489:performing with
445:John Avery Lomax
383:Frederick Delius
381:(1874–1934) and
2694:
2693:
2689:
2688:
2687:
2685:
2684:
2683:
2654:
2653:
2652:
2643:
2597:
2539:Classical music
2515:
2502:National anthem
2497:
2430:
2349:Music festivals
2344:
2283:
2269:Kerrang! Awards
2219:
2213:
2177:
2081:
2075:
2026:Children's song
1999:
1995:2000s and 2010s
1953:
1905:
1900:
1870:
1857:
1853:
1840:
1836:
1827:
1823:
1815:J. S. Sawyers,
1814:
1810:
1798:
1794:
1785:
1781:
1772:
1768:
1759:
1750:
1741:
1737:
1728:
1721:
1712:
1708:
1699:
1695:
1687:C. MacDougall,
1686:
1682:
1672:
1670:
1662:
1661:
1657:
1647:
1639:
1637:
1615:
1611:
1601:
1599:
1586:
1585:
1581:
1571:
1563:
1561:
1539:
1535:
1525:
1517:
1515:
1493:
1489:
1480:
1476:
1468:A. J. Millard,
1467:
1463:
1454:
1450:
1441:
1437:
1428:
1424:
1415:
1411:
1402:
1383:
1374:
1370:
1361:
1357:
1348:
1344:
1327:
1323:
1306:
1302:
1298:(London, 1846).
1285:
1281:
1272:
1265:
1256:
1252:
1243:
1239:
1230:
1179:
1170:
1163:
1159:
1107:
1071:
1039:Kathryn Tickell
1011:
928:
922:
779:
773:
768:
755:
715:
709:
677:Shirley Collins
632:
626:
586:radio program,
480:
458:
429:
421:Solway Symphony
361:classical music
353:First World War
349:
247:
228:
194:the process of
143:William Thomson
49:
12:
11:
5:
2692:
2682:
2681:
2676:
2671:
2666:
2649:
2648:
2645:
2644:
2642:
2641:
2639:Virgin Islands
2636:
2631:
2626:
2621:
2619:Cayman Islands
2616:
2611:
2605:
2603:
2599:
2598:
2596:
2595:
2590:
2585:
2580:
2575:
2570:
2565:
2560:
2555:
2550:
2534:
2532:
2525:
2524:Regional music
2521:
2520:
2517:
2516:
2514:
2513:
2505:
2503:
2499:
2498:
2496:
2495:
2488:
2481:
2474:
2467:
2460:
2453:
2450:The Gramophone
2446:
2438:
2436:
2432:
2431:
2429:
2428:
2423:
2418:
2413:
2408:
2403:
2398:
2393:
2388:
2383:
2378:
2373:
2368:
2366:Cambridge Folk
2363:
2358:
2352:
2350:
2346:
2345:
2343:
2342:
2337:
2332:
2327:
2322:
2317:
2315:Download chart
2312:
2307:
2302:
2297:
2291:
2289:
2285:
2284:
2282:
2281:
2276:
2271:
2266:
2261:
2256:
2251:
2246:
2241:
2236:
2230:
2228:
2221:
2215:
2214:
2212:
2211:
2206:
2201:
2196:
2191:
2185:
2183:
2179:
2178:
2176:
2175:
2170:
2165:
2160:
2155:
2150:
2145:
2144:
2143:
2133:
2128:
2127:
2126:
2121:
2116:
2106:
2101:
2096:
2091:
2085:
2083:
2082:popular genres
2077:
2076:
2074:
2073:
2068:
2063:
2058:
2053:
2048:
2043:
2038:
2033:
2028:
2023:
2018:
2013:
2007:
2005:
2001:
2000:
1998:
1997:
1992:
1987:
1982:
1977:
1972:
1967:
1961:
1959:
1955:
1954:
1952:
1951:
1946:
1941:
1940:
1939:
1934:
1929:
1924:
1913:
1911:
1907:
1906:
1899:
1898:
1891:
1884:
1876:
1869:
1868:
1851:
1834:
1821:
1808:
1792:
1779:
1773:J. DeRogatis,
1766:
1748:
1735:
1719:
1706:
1693:
1680:
1655:
1609:
1579:
1533:
1487:
1474:
1461:
1448:
1435:
1422:
1409:
1381:
1368:
1355:
1349:K. Mathieson,
1342:
1321:
1300:
1286:W. B. Sandys,
1279:
1263:
1250:
1237:
1177:
1160:
1158:
1155:
1154:
1153:
1148:, composed by
1143:
1138:
1136:Music of Wales
1133:
1128:
1123:
1118:
1113:
1106:
1103:
1070:
1067:
1010:
1007:
955:Five Hand Reel
924:Main article:
921:
918:
862:Third Ear Band
827:Danny Thompson
775:Main article:
772:
769:
767:
764:
754:
751:
711:Main article:
708:
705:
640:Lonnie Donegan
628:Main article:
625:
622:
588:As I Roved Out
565:Jimmy MacBeath
497:– 20 July 2008
479:
476:
457:
454:
428:
425:
417:Border Ballads
374:English Hymnal
348:
345:
326:Percy Grainger
302:Anne Gilchrist
298:Lucy Broadwood
246:
243:
227:
224:
181:George Thomson
100:Thomas D'Urfey
48:
45:
33:folk festivals
9:
6:
4:
3:
2:
2691:
2680:
2677:
2675:
2672:
2670:
2667:
2665:
2662:
2661:
2659:
2640:
2637:
2635:
2632:
2630:
2627:
2625:
2622:
2620:
2617:
2615:
2612:
2610:
2607:
2606:
2604:
2600:
2594:
2591:
2589:
2586:
2584:
2581:
2579:
2576:
2574:
2571:
2569:
2566:
2564:
2561:
2559:
2556:
2554:
2551:
2548:
2547:Popular music
2544:
2540:
2536:
2535:
2533:
2531:British Isles
2529:
2526:
2522:
2511:
2507:
2506:
2504:
2500:
2494:
2493:
2489:
2487:
2486:
2482:
2480:
2479:
2475:
2473:
2472:
2468:
2466:
2465:
2461:
2459:
2458:
2454:
2452:
2451:
2447:
2445:
2444:
2440:
2439:
2437:
2433:
2427:
2424:
2422:
2421:T in the Park
2419:
2417:
2414:
2412:
2409:
2407:
2404:
2402:
2399:
2397:
2394:
2392:
2391:Isle of Wight
2389:
2387:
2384:
2382:
2379:
2377:
2374:
2372:
2369:
2367:
2364:
2362:
2359:
2357:
2354:
2353:
2351:
2347:
2341:
2338:
2336:
2335:Singles chart
2333:
2331:
2328:
2326:
2325:R&B chart
2323:
2321:
2318:
2316:
2313:
2311:
2308:
2306:
2303:
2301:
2298:
2296:
2293:
2292:
2290:
2286:
2280:
2277:
2275:
2274:Mercury Prize
2272:
2270:
2267:
2265:
2262:
2260:
2257:
2255:
2254:Global Awards
2252:
2250:
2247:
2245:
2242:
2240:
2237:
2235:
2232:
2231:
2229:
2225:
2222:
2216:
2210:
2207:
2205:
2202:
2200:
2197:
2195:
2192:
2190:
2187:
2186:
2184:
2180:
2174:
2171:
2169:
2166:
2164:
2161:
2159:
2156:
2154:
2151:
2149:
2146:
2142:
2139:
2138:
2137:
2134:
2132:
2129:
2125:
2122:
2120:
2117:
2115:
2112:
2111:
2110:
2107:
2105:
2102:
2100:
2097:
2095:
2092:
2090:
2087:
2086:
2084:
2078:
2072:
2069:
2067:
2064:
2062:
2059:
2057:
2054:
2052:
2049:
2047:
2044:
2042:
2039:
2037:
2034:
2032:
2029:
2027:
2024:
2022:
2019:
2017:
2014:
2012:
2009:
2008:
2006:
2002:
1996:
1993:
1991:
1988:
1986:
1983:
1981:
1978:
1976:
1973:
1971:
1968:
1966:
1963:
1962:
1960:
1956:
1950:
1947:
1945:
1942:
1938:
1935:
1933:
1930:
1928:
1925:
1923:
1920:
1919:
1918:
1915:
1914:
1912:
1908:
1904:
1897:
1892:
1890:
1885:
1883:
1878:
1877:
1874:
1865:
1861:
1855:
1848:
1844:
1838:
1831:
1830:Great Britain
1825:
1818:
1812:
1805:
1801:
1796:
1789:
1783:
1776:
1770:
1763:
1757:
1755:
1753:
1745:
1739:
1732:
1726:
1724:
1716:
1710:
1703:
1697:
1690:
1684:
1669:
1668:Topic Records
1665:
1659:
1651:
1636:
1632:
1628:
1627:
1621:
1613:
1597:
1593:
1589:
1583:
1575:
1560:
1556:
1552:
1551:
1545:
1537:
1529:
1514:
1510:
1506:
1505:
1499:
1491:
1484:
1478:
1471:
1465:
1458:
1452:
1445:
1442:M. Gardiner,
1439:
1432:
1429:J. N. Moore,
1426:
1419:
1413:
1406:
1400:
1398:
1396:
1394:
1392:
1390:
1388:
1386:
1378:
1372:
1365:
1359:
1352:
1346:
1338:
1334:
1333:
1325:
1317:
1313:
1312:
1304:
1297:
1293:
1289:
1283:
1276:
1270:
1268:
1260:
1257:M. Gardiner,
1254:
1247:
1241:
1234:
1228:
1226:
1224:
1222:
1220:
1218:
1216:
1214:
1212:
1210:
1208:
1206:
1204:
1202:
1200:
1198:
1196:
1194:
1192:
1190:
1188:
1186:
1184:
1182:
1174:
1168:
1166:
1161:
1151:
1150:Paul Giovanni
1147:
1144:
1142:
1141:Roots revival
1139:
1137:
1134:
1132:
1129:
1127:
1124:
1122:
1119:
1117:
1114:
1112:
1109:
1108:
1102:
1100:
1096:
1092:
1088:
1084:
1080:
1079:Laura Marling
1076:
1066:
1064:
1060:
1056:
1052:
1048:
1044:
1040:
1036:
1032:
1028:
1024:
1020:
1016:
1006:
1004:
1000:
996:
992:
989:, to produce
988:
984:
980:
976:
972:
968:
964:
960:
959:Steeleye Span
956:
952:
948:
944:
936:
932:
927:
917:
915:
911:
907:
903:
899:
895:
891:
887:
883:
879:
875:
871:
867:
863:
858:
856:
852:
848:
844:
840:
836:
832:
828:
824:
823:Jacqui McShee
819:
815:
811:
810:John Renbourn
807:
806:Martin Carthy
803:
799:
795:
787:
783:
778:
763:
760:
750:
748:
744:
740:
736:
732:
731:The Iron Muse
728:
724:
720:
719:Topic Records
714:
713:Topic Records
707:Topic records
704:
702:
698:
694:
693:Hamish Imlach
690:
686:
685:Alex Campbell
682:
681:Martin Carthy
678:
674:
670:
669:The Watersons
666:
665:Copper Family
661:
657:
653:
652:John Renbourn
649:
648:Martin Carthy
645:
641:
637:
631:
621:
619:
615:
614:
613:The Iron Muse
609:
605:
599:
597:
593:
592:Peter Kennedy
589:
585:
581:
580:Child Ballads
576:
574:
570:
566:
562:
561:Flora MacNeil
558:
557:John Strachan
554:
550:
545:
543:
539:
538:Walter Pardon
535:
531:
527:
522:
520:
516:
512:
508:
504:
496:
495:Camp Bestival
492:
488:
487:Martin Carthy
484:
475:
472:
468:
464:
453:
450:
446:
442:
438:
434:
424:
422:
418:
414:
410:
406:
402:
394:
390:
386:
384:
380:
376:
375:
370:
366:
362:
358:
354:
344:
342:
337:
333:
332:
327:
323:
320:(1872–1951),
319:
315:
314:Maud Karpeles
311:
307:
303:
299:
296:(1855–1926),
295:
292:(1834–1924),
291:
287:
283:
278:
276:
269:
264:
260:
255:
253:
242:
236:
232:
223:
221:
217:
213:
209:
205:
201:
197:
193:
188:
186:
182:
179:collected by
178:
174:
170:
169:
164:
160:
156:
152:
148:
144:
140:
136:
132:
128:
124:
119:
117:
113:
109:
105:
101:
97:
96:Robert Harley
94:collected by
93:
89:
85:
84:
79:
78:John Playford
75:
71:
67:
63:
53:
44:
42:
38:
34:
30:
25:
21:
16:
2537:Birmingham (
2490:
2483:
2476:
2469:
2464:Melody Maker
2462:
2455:
2448:
2441:
2295:Albums chart
2288:Music charts
2227:Music awards
2182:Ethnic music
2080:Contemporary
2046:Protest song
2041:Morris dance
2010:
1863:
1854:
1846:
1837:
1829:
1824:
1816:
1811:
1803:
1795:
1787:
1786:P. Buckley,
1782:
1774:
1769:
1761:
1760:M. Brocken,
1743:
1738:
1730:
1714:
1709:
1701:
1696:
1688:
1683:
1671:. Retrieved
1667:
1658:
1638:. Retrieved
1624:
1612:
1600:. Retrieved
1596:the original
1591:
1582:
1562:. Retrieved
1548:
1536:
1516:. Retrieved
1502:
1490:
1482:
1477:
1469:
1464:
1456:
1451:
1443:
1438:
1430:
1425:
1417:
1412:
1404:
1403:M. Brocken,
1376:
1371:
1363:
1358:
1351:Celtic Music
1350:
1345:
1331:
1324:
1310:
1303:
1295:
1291:
1287:
1282:
1274:
1258:
1253:
1245:
1244:M. Patrick,
1240:
1232:
1172:
1091:Johnny Flynn
1072:
1059:Capercaillie
1051:Eliza Carthy
1047:Seth Lakeman
1012:
971:Alan Stivell
940:
906:Ralph McTell
866:Quintessence
859:
798:folk baroque
791:
756:
747:Eliza Carthy
739:Dick Gaughan
730:
723:Ewan MacColl
716:
697:Dick Gaughan
689:Jean Redpath
660:Peggy Seeger
656:Ewan MacColl
633:
611:
604:sea shanties
600:
596:Seamus Ennis
587:
577:
546:
523:
515:Ewan MacColl
500:
459:
437:bowdlerising
430:
420:
416:
412:
404:
398:
379:Gustav Holst
372:
368:
350:
335:
329:
294:Frank Kidson
279:
274:
271:
266:
262:
257:
248:
239:
235:Frank Kidson
219:
211:
207:
189:
185:Walter Scott
176:
173:Robert Burns
166:
162:
157:(1751), and
154:
151:James Oswald
146:
138:
134:
130:
126:
120:
115:
111:
108:Thomas Percy
103:
88:Samuel Pepys
81:
58:
19:
17:
15:
2578:Northumbria
2435:Music media
2386:Glastonbury
2320:Indie chart
2310:Dance chart
2279:MOBO Awards
2244:Brit Awards
2220:performance
1917:Early music
1858:R. Devine,
1673:9 September
1640:9 September
1564:9 September
1518:9 September
1455:D. Harker,
1375:M. Shiach,
1231:B. Sweers,
991:Celtic rock
983:Isle of Man
963:Albion Band
902:John Martyn
898:Tim Buckley
874:Dando Shaft
851:progressive
814:Bert Jansch
802:Davy Graham
786:Bert Jansch
727:A. L. Lloyd
701:The Corries
569:Dafydd Iwan
534:Fred Jordan
519:A. L. Lloyd
507:McCarthyism
419:(1908) and
409:John McEwen
393:Cecil Sharp
341:Gavin Greig
310:Cecil Sharp
288:(1825–96),
216:Robert Bell
214:(1838) and
125:in 1662 as
2658:Categories
2629:Montserrat
2568:Manchester
2381:Eisteddfod
2330:Rock chart
2061:Strathspey
2056:Sea shanty
1841:A. Denney
1652:required.)
1602:20 January
1576:required.)
1530:required.)
1362:G. Grove,
1273:G. Boyes,
1171:P. Burke,
1111:Folk music
1075:indie rock
1035:Nancy Kerr
1031:Kate Rusby
1003:folk metal
894:Nick Drake
845:) and the
630:Folk clubs
624:Folk clubs
620:' (1966).
526:Sam Larner
503:Alan Lomax
471:sound film
467:phonograph
433:work songs
284:professor
252:Carl Engel
200:work songs
159:David Herd
135:Music Book
29:folk clubs
24:folk music
2624:Gibraltar
2593:Yorkshire
2563:Liverpool
2406:The Proms
2396:Knebworth
2376:Edinburgh
2218:Media and
2189:Caribbean
2099:Americana
2094:Afroswing
2089:Afrobeats
2071:Work song
1949:Classical
1910:Art music
1847:BBC Music
1700:S. Hill,
1019:punk rock
999:folk punk
975:Malicorne
951:folk rock
947:Pentangle
908:, whose "
882:Spirogyra
878:The Trees
843:Bob Dylan
835:Pentangle
833:, formed
831:Terry Cox
753:Criticism
735:Nic Jones
530:Harry Cox
427:Criticism
190:With the
74:folk song
62:festivals
2609:Anguilla
2602:Overseas
2583:Somerset
2558:Cornwall
2492:The Wire
2457:Kerrang!
2416:Sidmouth
2371:Download
2356:Boomtown
2204:Scotland
2173:Schlager
2119:Scotland
2066:War song
2031:Hornpipe
1932:Scotland
1105:See also
1023:new wave
1015:ceilidhs
987:Cornwall
979:Horslips
967:Brittany
961:and the
642:’s hit "
415:(1889),
222:(1846).
149:(1733),
141:(1711),
123:Aberdeen
66:folklore
2614:Bermuda
2573:Newport
2553:Cardiff
2199:Ireland
2194:England
2158:Popular
2136:Hip Hop
2114:England
2104:Country
1944:Baroque
1927:Ireland
1922:England
839:Donovan
636:skiffle
413:Pibroch
282:Harvard
47:Origins
2588:Sussex
2443:fRoots
2016:Ballad
1646:
1570:
1524:
1055:Runrig
888:, and
886:Forest
829:, and
766:Impact
695:, and
671:, the
540:, and
355:, the
2209:Wales
2141:Drill
2131:Grime
2124:Wales
2021:Carol
1990:1990s
1985:1980s
1980:1970s
1975:1960s
1970:1950s
1937:Wales
1339:–100.
1157:Notes
870:Comus
70:dance
2543:Jazz
2471:Mojo
2168:Soul
2163:Rock
2148:Jazz
2109:Folk
2051:Reel
1675:2020
1642:2020
1604:2021
1566:2020
1520:2020
1097:and
1057:and
1025:and
1001:and
985:and
945:and
900:and
864:and
853:and
812:and
725:and
679:and
658:and
650:and
606:and
594:and
573:Sain
563:and
517:and
469:and
72:and
39:and
31:and
18:The
2478:NME
2153:Pop
2036:Jig
1631:doi
1555:doi
1509:doi
493:at
411:'s
218:'s
161:'s
153:'s
145:'s
110:'s
102:'s
80:as
2660::
2545:,
2541:,
1862:,
1845:,
1802:,
1751:^
1722:^
1666:.
1623:.
1590:.
1547:.
1501:.
1384:^
1337:99
1316:32
1266:^
1180:^
1164:^
1101:.
1089:,
1085:,
1081:,
1053:,
1049:,
1045:,
1041:,
1037:,
1033:,
1021:,
957:,
896:,
884:,
880:,
876:,
872:,
857:.
825:,
808:,
804:,
741:,
737:,
703:.
691:,
687:,
675:,
667:,
559:,
555:,
536:,
532:,
528:,
206:'
187:.
68:,
64:,
43:.
2549:)
2512:"
2508:"
2485:Q
2426:V
1895:e
1888:t
1881:v
1677:.
1644:.
1633::
1606:.
1568:.
1557::
1522:.
1511::
1318:.
395:.
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