A Documentary on the Evolution of English Folk Music

A Documentary on the Evolution of English Folk Music is an insightful and captivating look at the history of a musical genre that is often overlooked.

Origins

English folk music has been around for centuries, with its roots stretching back to the medieval era. Over the years, it has undergone a significant evolution, with different styles emerging in different parts of the country. This documentary will explore the origins and evolution of English folk music, from its earliest beginnings to the present day.

Celtic music

Celtic music is a broad grouping of music genres that have emerged from the native folk music traditions of the Celtic people of Western Europe. It refers to both orally-transmitted traditional music and recorded music and the styles vary considerably to include everything from “trad” (traditional) folk to modern rock. Celtic music has remained vibrant throughout the centuries, despite global processes of modernization, and has in many cases been revived and revitalized by modern performers.

Anglo-Saxon music

The Anglo-Saxons were a people who inhabited Great Britain from the 5th century. They came from the countries now known as Denmark, Norway, Sweden, Germany, and the Netherlands. The Anglo-Saxons lived in small farms and didn’t have much music or art. The few musical instruments they had were flutes and drums. Anglo-Saxon music was designed to be played in large halls with many people dancing. This was because the Anglo-Saxons believed that music and dance were a form of entertainment that brought people together and made them happy.

The Anglo-Saxons were converted to Christianity in the 7th century, which had a big impact on their music. Christian music was designed to be played in churches, and it was often more peaceful and calm than Anglo-Saxon music. The monks who wrote Christian music used Latin instead of the Anglo-Saxon language, which made it harder for average people to understand. However, Christian music did help to spread the ideas of Christianity throughout England.

In 1066, the Normans invaded England and conquered the Anglo-Saxons. The Normans came from France, and they brought their own style of music with them. Norman music was very different from Anglo-Saxon music; it was more complex and faster paced. The Normans also introduced new instruments to England, such as the lute and the oboe. French became the language of choice for Norman composers, which made English folk songs less popular.

However, some old Anglo-Saxon tunes managed to survive the Norman conquest. These tunes were kept alive by being passed down from generation to generation through oral tradition. Many of these folk songs were about love, loss, or patriotism. They often had simple melodies that were easy to remember and sing. Over time, these folk songs evolved into what we now know as traditional English folk songs.

The Middle Ages

English folk music has been around for centuries, evolving and changing as the times and cultures have changed. One of the most significant periods in the evolution of English folk music was the Middle Ages. This was a time of great upheaval and change in England, and the music reflected that.

Minstrelsy

Minstrelsy was a medieval European form of entertainments typically involving singing, playing instruments and telling stories. Often professional performers, minstrels were firstly wandering musicians who performed for audiences in return for alms or other forms of payment. Over time, minstrelsy became institutionalized within courtly society and developed into a more sophisticated form known as troubadour music. c

Troubadours and trouvères

The first music specifically of the middle ages that we know about is the music of the troubadours and trouvères. These were French-speaking poet-composers who wrote songs about chivalry and courtly love, and they flourished in the 12th and 13th centuries. We don’t have any manuscripts of their music, but we do have descriptions of their instruments and performance practice, as well as over 400 of their songs that have survived in later manuscripts.

These songs were originally intended to be performed by a single voice with accompaniment on a stringed instrument called a citole or a vielle. The vielle was played with a bow, and was essentially a medieval ancestor of the violin. The citole was plucked like a guitar. Over time, more voices and instruments were added to the performances of these songs, but the basic format remained the same: a melody line accompanied by one or more harmony lines.

The Renaissance

Madrigals

Madrigals are a type of English acoustic folk music that were very popular in the Renaissance era. Madrigals were typically written for four to eight voices, and were often quite complex harmonically. The texts of madrigals were often quite elaborate, and often told stories or expressed emotions. Many madrigals were written in a light, pastoral style, and they often made use of word-painting (a technique in which the music mirrors the meaning of the lyrics).

Madrigals began to decline in popularity in the early 1600s, as a new style of English folk music called The dumps became more popular. The dumps was a simpler, more melodic style of music, and it quickly eclipsed the popularity of madrigals. Madrigals continued to be composed and performed throughout the 1600s and 1700s, but they never regained their former prominence. Today, madrigals are mostly heard in choral concerts or on recordings.

The English lute school

The English lute school was a musical movement centered in England in the late 16th and early 17th centuries. The main exponents of the style were John Dowland, Anthony Holborne, Dionysio Memo, Thomas Robinson, and Philip Rosseter.

Dowland (1563-1626) was the most prominent figure of the school and is often considered its founder. He was born in London and traveled extensively throughout Europe, spending time in Denmark, Germany, Italy, and France. His music is characterized by a strong chromaticism and ahtmlPrettifyOptions sentimental expressiveness.

Holborne (1545-1599) was another major figure of the English lute school. He was born in Norfolk and worked as a lutenist at the court of Elizabeth I. His music is distinguished by its intricate counterpoint and use of scordatura (alternate tuning).

Robinson (fl. 1600-1610) was a minor figure in the English lute school who wrote a small number of pieces for solo lute. His style is less chromatic than that of Dowland or Holborne and includes elements of folk music.

The English lute school reached its height in the early 17th century with the works of Rosseter (c. 1570-1623) and Memo (fl. 1610-1640). Rosseter was born in Devon and worked as a composer and theatre musician in London. His music is characterized by ornate counterpoint and vivid word painting. Memo was born in Italy but spent most of his career in England. His music combines Italianate melodiousness with English contrapuntal virtuosity.

The Baroque era

English Folk music has undergone many changes since the Baroque era. In the Baroque era, the upper class would commission composers to write music for them. This music was performed by professional musicians in formal settings. The music of this era was often complex and intricate.

The English Civil War and its effect on music

The English Civil War was a time of great upheaval and change in England. One of the most important changes that took place during this time was the evolution of English folk music.

Before the war, English folk music was largely based on ballads and dances. However, during the course of the war, many of the traditional ballads and dances fell out of favor. In their place, new types of music began to emerge, such as marches, work songs, and even protest songs.

Some of the most famous English folk songs from this era include “The Cruel War Is Raging,” “We Shall Overcome,” and “The World Turned Upside Down.” These songs reflected the political and social turmoil of the times, and they have remained popular to this day.

The English Civil War was a pivotal moment in the history of English folk music. It ushered in a new era of songwriting and performance, which would ultimately lead to the development of modern folk music.

The Restoration and the birth of the English opera

The Restoration of the English monarchy in 1660 brought an end to nearly two decades of Puritanical rule in England. Along with the return of the king and the re-opening of the theaters, this period saw a renewed interest in music and the arts. One of the most important genres to emerge during this time was English opera.

English opera can be traced back to a 1656 work by Henry Purcell, Dido and Aeneas. While Dido is not considered a true opera (it is more accurately classified as an Italianate tragedy), it was one of the first works in England to incorporate elements of both opera and ballet. It was also one of the first works to be performed in English, rather than Latin or Italian.

Dido was followed by several other Purcell operas, including King Arthur (1691) and The Fairy Queen (1692). These works were hugely influential in shaping the future of English opera. They blended elements of both French and Italian opera, making them more accessible to English audiences.

The late 17th century also saw the rise of a new type of musical theater known as ballad operas. These were light-hearted, often comic works that incorporated popular songs and dances into their plots. The most famous example is John Gay’s The Beggar’s Opera (1728), which became an overnight sensation and ran for an unprecedented 62 consecutive performances.

Ballad operas continued to be popular throughout the 18th century, but they were eventually eclipsed by a new form known as grand opera. This was a more serious type of opera that emphasized spectacle and dramatic intensity over lighthearted amusement. The first true grand opera was Jean-Philippe Rameau’s Hippolyte et Aricie (1733), but it was not until George Frideric Handel’s Rinaldo (1711) that this genre truly took off in England.

Rinaldo was a huge success, ushering in a new era of English grand opera. This was followed by numerous other Handel operas, including Alcina (1735), Giulio Cesare (1732), and Orlando (1733). These works cemented Handel’s reputation as one of the greatest composers of his generation and established grand opera as a force to be reckoned with in England.

The Modern era

English Folk music has been around for centuries, with its origins dating back to the medieval period. Though it has undergone many changes over the years, it is still a hugely popular genre today. In this documentary, we will explore the evolution of English Folk music from the medieval period to the modern day.

Folk-rock and the British Invasion

The integration of electric guitar and amplification into folk music in the mid-1960s had a profound effect on popular music, and ultimately resulted in the creation of a new genre, folk-rock. The British Invasion of the 1960s, led by bands such as The Beatles and The Rolling Stones, brought with it a new appreciation for American roots music, including blues, country, and folk. English bands such as The Byrds, Fairport Convention, and Pentangle were at the forefront of the folk-rock movement, infusing traditional folk songs with a rock attitude and sound.

The folk revival of the 1960s and ’70s

In the United Kingdom, the folk revival fostered a respect for traditional music and performers. This led to a revival of English instrumental music in the form of Morris dancing and related practices such as sword dancing, step dancing and rapper dancing. The wide variety of forms of English Folk Music means that there is something to suit all tastes.

The British folk scene today is very vibrant, with a huge variety of music and dance being performed and enjoyed. There are also many opportunities to get involved in traditional music and dance, whether as a performer or through one of the many folk festivals that take place throughout the year.

Contemporary folk music

In the 1960s, American folk music was electrified and became rock and roll. British folk music also evolved towards pop music. Singer-songwriters such as Bob Dylan and Joan Baez brought traditional folk songs to a wide audience. In Britain, the skiffle craze of the 1950s led directly to the British Invasion led by groups such as The Beatles.

The popularity of traditional folk music continued in the U.S., with artists such as Judy Collins, Odetta, Ian & Sylvia and The Weavers becoming very popular. The Kingston Trio were particularly successful with their close harmonies and lighthearted songs which appeal to a wide audience. In the late 1950s and early 1960s, The Limeliters were one of the most popular folk groups in America. Many other artists such as Gordon Lightfoot, John Denver and Mary Travers became popular in the 1970s.

Folk rock developed in the mid-60s with bands such as Fairport Convention and Pentangle fusing traditional folk music with rock music. This trend continued in America with bands such as Simon & Garfunkel, Crosby, Stills & Nash and The Byrds having considerable success with their records. In Britain, Fairport Convention’s Liege & Lief is often considered to be the first true folk rock album.

In the early 21st century, contemporary folk music is enjoying a resurgence in popularity with artists such as Bellowhead, Eliza Carthy and Seth Lakeman enjoying considerable success both commercially and critically.