research papers on folk music

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2017, The Bloomsbury Handbook of Religion and Popular Music

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In A. Tokita and D. Hughes (eds), The Ashgate research companion to Japanese music (Aldershot, UK: Ashgate), chapter 12 (pp. 281-302), 2008

The collection of folk-songs in late Victorian England was part of a wider craze for collecting and categorising all manner of things. In the case of folksongs the approach was antiquarian and initially centred on texts rather than tunes. Out of this there grew an interest in gathering songs from oral sources in the field and this was further spurred on by the discovery that the tunes used were, in many cases, based on the old modes. The discovery of this native 'peasant' music coincided with a growing sense of urgency within the music establishment to re-establish an English style of music. This fed into the need felt by many to re-invigorate patriotic and nationalistic feelings in the population at large. By the end of the century there was a small group of active collectors who responded to an initiative from the Irish Literary Society in London and, together with the support of the music colleges and influential members of the music establishment, they formed the nucleus...

In: Ardian Ahmedaja (ed.): European Voices III. The Instrumentation and Instrumentalization of Sound. Local Multipart Music Cultures and Politics in Europe. Vienna: Boehlau, 2017, pp. 263-292. ISBN: 978-3-205-20513-5, 2017, 2017

Abstract Folk music revival movements represent a social and artistic phenomenon in their own right. As a rule they refer to rural musical practices of the remote or recent past. Some revival movements take only single expressive elements of high symbolic value from the corresponding reference culture, while others try to achieve maximal histori- cal accuracy and authenticity of musical style. To a considerable degree, revival ensembles can differ from recent or historical music practice in instrumentation and musical texture. Due to the representative func- tions of some revivalist formations or to ideals of participation, the number of the musicians is usually higher than in the reference culture. However, in the 20th century a reverse trend towards comparatively small ensembles can be observed. Sonic ideals of revival movements and claims to historical accuracy can come into conflict with the corresponding social settings and their egalitarian orientation. Thus, for example, drone instruments like bagpipes and hurdy-gurdies, enjoy high priority in many revival ensembles, be it for the attractiveness of their specific sonic qualities or to the strong but doubtful association with archaism. In actual practice they are frequently combined with popular instruments such as guitars and accordions which provide chordal-harmonic support. Nevertheless, the most distinguished bagpipers and hurdy-gurdy players prefer to perform solo or in small ensembles without a con- stant harmonic texture, setting off the beauty of these most demanding instruments.

"Sweet sixties: specters and spirits of a parallel avant-garde", eds. Georg Schöllhammer and Ruben Arevshatyan, 2014

The folk and popular cultures of former Yugoslav nation-states often present a case of longue durée ideological battles over meaning and belonging: Whose heritage is this? What community exclusively generated this precious (or despicable) cultural phenomenon? Whose national history stretches back to the furthest point in time? The flip side of the coin is the alternate history of exclusions and forbidden enjoy-ments, the detested and yet adored forms of culture that, despite the harsh critique they encountered in official and normative discourses, still served as strong and mobilizing mechanisms for the collectivities, sometimes transcending national borders, generational barriers, and the burden of shared historical legacies. Novokomponovana narodna muzika [Newly composed folk music: NCFM], 1 the musical genre and subculture whose popularity exploded in the 1960s in the Socialist Federal Republic of Yugoslavia (SFRY)-and which has continued to live on by actively engendering different, sometimes equally controversial, musical, media, and cultural offshoots in the post-Yugoslav space-might be seen as a prime example of this. Officially and somewhat derogatorily labeled as "newly composed" in the cultural politics of Yugoslav communism, and afterward sometimes called simply narodna muzika [folk music] or narodnjaci [people's music] in Serbia, NCFM relied on a specific mixture of "old" and "new," and it did so by questioning several important dichotomies that were embedded in the official discourses and in the popular imagination of the time: East vs. West, popular vs. elite, rural vs. urban. Its wide popularity arose from the specific convergence of old and new in terms of musical style, visual representation, and the content of the lyrics, turning the immediacy of the everyday life of the socialist worker into an appealing discourse that blended together soft rural nostalgia with the novelty and glitter of modern urban life.

Discussing controversial issues of Volksmusikforschung in Austria and Germany, the article focuses on European folk music research, with its theory, method, and terminology, in a historical and interdisciplinary perspective. Drawing basically on scholarly traditions of the Germanspeaking countries and Russia, it shows that key issues of comparative musicology and ethnomusicology (anthropology of music), such as music in culture, participatory observation, function-based genre concepts, and comparative research, were developed in the study of European folk music starting in the late 18th century. The folk music discourse contains two basic trends: (1) folk music as a subject of scholarship (from the Enlightenment to 19th century realism), (2) the folk song as an object of idealization (pre-romantic and romantic period). Against the background of the intellectual history of folk music research, the article enters debates on (a) folk music and ideology (nationalism, social romanticism)...

Musicologist 2021. 5(1): 1-30, 2021

Regardless of Eric Hobsbawm's negativistic understanding, 'tradition' is a powerful and dynamic (and in no way traditionalist) concept in academic folkloristics. The widespread scepticism against 'traditional music', both as a recognizable field of research and a matter of theoretical thought, is based on an insufficient and sometimes stereotypic understanding of a term and concept with a fascinating history. I argue that there is good reason to maintain a term which is intrinsically linked to core issues of ethnomusicology, among them community-based music, cultural innovation, oral/aural transmission, sonic orders, and stylistic pluralism.

Music Radio: Building Communities, Mediating Genres, 2018

The chapter examines the intertwining of the history of folkloristics and the radio in the construction of national musical styles. Based on the concept of the dispositive (apparatus), the paper scrutinizes the material fixation of culture by means of technology as a conditio sine qua non of the formation of (ethnographic) knowledge about culture and cultural politics of identity. Two case studies will examine two collections of folk music, gathered in the contexts of ethnography, and the radio. Sound archives will be analyzed both in a praxeological manner as a technique to preserve and produce national sound, and in a metaphorical manner as “the law of what can be said.” Collections, among other elements, govern what sounds are being disseminated – or silenced.

The English folk arts are currently undergoing a considerable resurgence; practices of folk music, dance and drama that explicitly identify themselves as English are the subjects of increasing public interest throughout England. The past five years have seen a manifold increase in the number of professional musical acts that foreground their Englishness; for the first time since the last 'revival period' of the 1950s and 60s, it is easier for folk music agents to secure bookings for these English acts in England than Scottish and Irish (Celtic) bands. Folk festivals in England are experiencing greatly increased popularity, and the profile of the genre has also grown substantially beyond the boundaries of the conventional 'folk scene' contexts: Seth Lakeman received a Mercury Music Awards nomination in 2006 for his album Kitty Jay; Jim Moray supported Will Young’s 2003 UK tour, and his album Sweet England appeared in the Independent’s ‘Cult Classics’ series in 2007; i...

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