Ingliz xalq musiqasi - English folk music

Ushbu maqola ingliz xalq musiqasi haqida. Bu bilan aralashmaslik kerak Angliyadan kelgan etnik guruh.
Beshburchak 1969 yilda ijro etgan
Angliya madaniyati
England.svg bayrog'i
Tarix
Odamlar
Tillar
Oshxona
Din
San'at
Adabiyot
  • England.svg bayrog'i Angliya portali

The Angliya xalq musiqasi an’analarga asoslangan musiqa bo‘lib, keyingi davrlardan beri mavjud bo‘lib kelmoqda o'rta asrlar davr. Bu ko'pincha xushmuomalalik bilan taqqoslanadi, klassik va keyinchalik tijorat musiqasi. Xalq musiqasi an'anaviy ravishda saqlanib qoladi va jamoalarda og'zaki ravishda uzatiladi, ammo bosma va keyinchalik audio yozuvlar asosiy uzatuvchi vositaga aylandi. Bu atama ikkalasini ham ingliz tiliga murojaat qilish uchun ishlatiladi an'anaviy musiqa va an'anaviy uslubda yaratilgan yoki etkazilgan musiqa.

Bu tarkib va ​​uslubdagi, ayniqsa, ingliz davlatining madaniy va siyosiy markazlaridan uzoqroq bo'lgan hududlarda aniq mintaqaviy va mahalliy farqlarga ega, deb ko'rish mumkin. Nortumbriya yoki G'arbiy mamlakat. Madaniy almashinuv va migratsiya jarayonlari shuni anglatadiki, ingliz xalq musiqasi, ko'p jihatdan o'ziga xos xususiyatga ega bo'lsa-da, Shotlandiya musiqasi. Ingliz jamoalari ko'chib kelganlarida Qo'shma Shtatlar, Kanada va Avstraliya, ular o'zlarining xalq an'analarini o'zlari bilan birga olib kelishdi va ko'plab qo'shiqlar muhojirlar jamoalari tomonidan saqlanib qoldi.

Ingliz xalq musiqasi bir nechta madaniy hodisalarni, shu jumladan, ishlab chiqargan yoki ularga hissa qo'shgan dengiz shanties, dastgohlar, mo'ylovlar va uchun musiqa Morris raqsga tushmoqda. Shuningdek, u boshqa musiqiy an'analar, xususan klassik va rok musiqasi, musiqiy uslublarga ta'sir ko'rsatadigan va ishlab chiqaradigan musiqiy termoyadroviy, kabi Britaniyalik folk-rok, folk pank va xalq metallari. U erda gullab-yashnamoqda pastki madaniyat boshqa janrlarga ta'sir ko'rsatishda davom etadigan va vaqti-vaqti bilan asosiy e'tiborni qozonadigan ingliz folklor musiqasi.

Tarix

Kelib chiqishi

Asl bal Good Company bilan vaqt o'tkazish (1513 y.), yilda bo'lib o'tgan Britaniya kutubxonasi, London.

Qattiq ma'noda ingliz folk musiqasi kelganidan beri mavjud bo'lgan Angliya-sakson Milodiy 400 yildan keyin Britaniyadagi odamlar. The Hurmatli to'shak hikoya chorvador va keyinchalik cherkov musiqachisi Kidmon O'rta asrlarning boshlarida bayramlarda arfa atrofida aylanib, "bekor va bekorchi qo'shiqlar" ni kuylash odatiy holdir.[1] Ushbu turdagi musiqa kamdan-kam nota qilinganligi sababli, biz uning shakli yoki mazmuni haqida kam ma'lumotga egamiz.[2] Keyinchalik ishlatilgan musiqa singari ba'zi bir ohanglar Morris raqsi, bu davrda ularning kelib chiqishi bo'lishi mumkin, ammo bu munosabatlarga aniqlik kiritish mumkin emas.[3] Biz ma'lumotnomadan bilamiz Uilyam Langland "s Pirsman, bu haqida balladalar Robin Gud hech bo'lmaganda 14-asrning oxirlarida kuylangan va bizda mavjud bo'lgan eng qadimgi batafsil material Wynkyn de Worde Robin Gud balladalari to'plami taxminan 1495 yilda bosilgan.[4]

16-asrdan 18-asrgacha

Turli xil saroy musiqasi mavjud bo'lganida, XVI asrda ijtimoiy elita vakillari ham zavqlanib, hatto odamlar musiqasiga hissa qo'shgan ko'rinadi. Genri VIII ehtimol taverna qo'shig'i bilan qilgan "Good Company bilan vaqt o'tkazish ".[5] Piter Burk kech o'rta asr ijtimoiy elitalarining o'ziga xos madaniyati bor, ammo madaniy jihatdan "amfibiya" bo'lganligi, ommabop an'analarda ishtirok etishi va ta'sir ko'rsatishi mumkinligi haqida bahslashdi.[6]

XVI asrda yuqori ijtimoiy buyurtmalar boyligi va madaniyatidagi o'zgarishlar musiqada didning ajralib chiqishiga sabab bo'ldi.[6][7] Ikkala cholg'u asboblari jihatidan saroy musiqasining xalqarolashuvi mavjud edi lute, dulcimer va erta shakllari klavesin va rivojlanishi bilan shaklda madrigallar, karavot va galliardlar.[8] Boshqa ijtimoiy buyurtmalar uchun quvur kabi asboblar, tabor, bagpipe, shom, shoshilinch va xarsangtosh an'anaviy musiqa va jamoat raqsiga hamroh bo'ldi.[9] 1660 yillarga qadar Angliyada yaxshi yo'lga qo'yilgan skripka g'ayrioddiy bo'lib, ikkala badiiy musiqada ham asosiy element bo'lgan. barok va mashhur qo'shiq va raqsda.[10]

17-asrning o'rtalariga kelib, quyi ijtimoiy tartiblarning musiqasi zodagonlarga etarlicha begona bo'lib, uni qayta ochish jarayoni zarur bo'lishi uchun festivallar kabi ommaviy madaniyatning boshqa jihatlari qatori, folklor va raqs.[6] Bu ko'plab bosma materiallarning to'plamlarini, shu jumladan tomonidan nashr etilgan nashrlarni keltirib chiqardi Jon Playford kabi Ingliz raqs ustasi (1651) va shaxsiy kollektsiyalari Samuel Pepys (1633-1703) va Roxburghe balladalari tomonidan to'plangan Robert Xarli, 1-graf Oksford va Mortimer (1661–1724).[4] Pepis o'zining mashhur kundaligida ballada kuylaganida alohida qayd etilgan Barbara Allen 1665 yil Yangi yil arafasida, og'zaki ananada XX asrga qadar saqlanib qolgan ballada.[11]

18-asrda hozirgi paytda "xalq" musiqasi deb ta'riflana boshlagan to'plamlarning soni ko'payib bordi. Romantik harakat, shu jumladan Tomas D'Urfey "s Wit va Mirth: yoki, Melankoliyani tozalash uchun dorilar (1719-20) va episkop Tomas Persi "s Qadimgi ingliz she'riyatining reliktlari (1765).[4] Ulardan oxirgisi ba'zi bir og'zaki materiallarni o'z ichiga olgan va 18-asrning oxiriga kelib bu tobora keng tarqalgan bo'lib, to'plamlar, shu jumladan. Jozef Ritson ning, Yepiskoplik garlandi (1784), shunga o'xshash figuralar ishiga parallel bo'lgan Robert Berns va Valter Skott Shotlandiyada.[4]

Aynan shu davrda ham ingliz xalq musiqasi Atlantika okeanidan o'tib, Amerika an'anaviy musiqasining asosiy asoslaridan biriga aylandi. Koloniyalarda u boshqa immigratsion guruhlar olib kelgan musiqa uslublari bilan aralashib, ko'plab yangi janrlarni yaratdi. Masalan, Irlandiyalik, Shotlandiyalik va nemislarning musiqiy an'analari hamda afrikalik banjo bilan birlashtirilgan ingliz balladalari aylandi bluegrass va kantri musiqasi, evolyutsiyasi, afro-amerikalik blyuz bilan birlashganda rok-roll.

19-asr boshlari

Bilan Sanoat inqilobi mehnatkash sinflar musiqasi mavzulari qishloq va agrar hayotdan sanoatgacha o'zgarishni boshladi ishchi qo'shiqlar.[12] Eski qo'shiq turlaridan voz kechilayotganidan xabardor bo'lish 1830 va 1840 yillarda xalq qo'shiqlarini, shu jumladan, Uilyam Sandis ' Qadimgi va zamonaviy Rojdestvo kuylari (1833), Uilyam Chappell, National English Airs to'plami (1838) va Robert Bell "s Angliya dehqonlarining qadimiy she'rlari, balladalari va qo'shiqlari (1846).[13]

Texnologik o'zgarish yangi asboblarni yaratdi va kumush va rivojlanishiga olib keldi guruch lentalari, ayniqsa, shimoldagi sanoat markazlarida.[14] Shahar markazlariga o'tish yangi musiqa turlarini, jumladan, 1850-yillardan boshlab yaratishni boshladi Musiqa zali ale uylaridagi tomoshalardan teatrlarga qadar rivojlanib, bir asrdan ko'proq vaqt davomida ingliz mashhur musiqasining dominant joyiga aylandi.[15] Dastlab, yangi qo'shiqlarni yaratishga imkon beradigan savodxonlik va bosma nashrlarning ko'payishi bilan birlashganda, lekin an'anaviy musiqadan bastakorlar singari farq qila boshladi. Lionel Monkkton va Sidni Jons yangi ijtimoiy sharoitlarni aks ettiruvchi musiqa yaratdi.[16]

Xalq tiklanishi 1890–1969 yillar

Asosiy maqola: Britaniya xalq tiklanishi

19-asrning oxiridan boshlab ingliz folklor musiqasi va raqslarini to'plash, yozib olish, saqlash va keyinchalik ijro etishga harakat qilgan bir qator harakatlar mavjud edi. Ular odatda ikkita xalq jonlanishiga bo'linadi.

Birinchisi, 19-asrning oxirlarida va 20-asrning boshlarida kollektsionerlar, shu jumladan raqamlar ishtirok etdi Sabine Baring-Gould (1834–1924), Frank Kidson (1855–1926), Lucy Broadwood (1858-1939) va Anne Gilchrist (1863–1954), 1911 yilda tashkil etilgan Xalq qo'shiqlari jamiyati atrofida.[4] Frensis Jeyms Bayd (1825-96) sakkiz jildlik to'plami Ingliz va Shotlandiya mashhur balladalari (1882–92) keyingi ijrochilarning repertuarini aniqlashda eng ta'sirchan bo'ldi va Sesil Sharp (1859-1924), asoschisi Ingliz xalq raqslari jamiyati, ehtimol, xalq qo'shig'ining mohiyatini tushunishda eng muhim ko'rsatkich edi.[4] Uyg'onish atrofdagi davrda kengroq milliy harakatning bir qismi edi Birinchi jahon urushi va yaratilishida o'z hissasini qo'shdi Ingliz pastoral maktabi kompozitsiyalarida ko'rinib turganidek, an'anaviy qo'shiqlar yoki naqshlarni o'zida mujassam etgan klassik musiqa Persi Greyinger (1882–1961), Ralf Vaughan Uilyams (1872–1951), Jorj Buttervort (1885–1916), Gustav Xolst (1874-1934) va Frederik Delius (1862–1934).[17][18] 1932 yilda Xalq Qo'shiqlari Jamiyati va Ingliz Xalq Raqslari Jamiyati birlashdilar Ingliz xalq raqslari va qo'shiqlari jamiyati (EFDSS).[12] Ushbu revivalistlarning ba'zilari mumi tsilindrda xalq qo'shiqlarini yozib olishgan va ko'plab yozuvlar, shu jumladan Persi Graingerning to'plami, Internetda taqdim etilgan. Vaughan Williams yodgorlik kutubxonasi.[19]

Martin Karti bilan ijro etish Tasavvur qilingan qishloq da Lager Bestival - 2008 yil 20-iyul

Ikkinchi uyg'onish shundan keyin tezlashdi Ikkinchi jahon urushi, dan boshlab Amerika xalq musiqasining tiklanishi chunki ommaviy axborot vositalarining yangi shakllari va Amerika tijorat musiqasi an'anaviy musiqaga yana bir tahdid solmoqda.[17][20] Asosiy raqamlar edi Ewan MacColl va A. L. Lloyd. Ikkinchi tiklanish odatda siyosatda chap qanot edi va 19-asrning musiqiy musiqasini va erotik folklor qo'shiqlari kabi ilgari e'tibordan chetda qolganligini ta'kidladi.[4] Mavzu yozuvlari 1939 yilda tashkil etilgan bo'lib, u xalq yozuvlarining asosiy manbasini taqdim etdi.[17] Uyg'onish natijasida tarmoqning asosi yaratildi folklor klublari 1950 yildan boshlab yirik shaharlarda.[21] Asosiy an'anaviy ijrochilar orasida Mis oilasi, Uotersonlar, Yan Kempbell folklor guruhi va Sherli Kollinz.[22] Amerika musiqasining turli uslublarini ingliz xalqi bilan birlashtirishi ham gitara uchun o'ziga xos shaklni yaratishga yordam berdi barmoq uslubi ‘nomi bilan tanilganxalq baroki »Tomonidan kashshof bo'lgan Deyvi Grem, Martin Karti, Jon Renburn va Bert Yansh.[23] Og'zaki an'ana bo'yicha eski qo'shiqlarni o'z jamoalaridan o'rgangan va shu sababli haqiqiy nusxalarini saqlab qolgan bir nechta shaxslar paydo bo'ldi. Kabi bu shaxslar Sem Larner,[24] Garri Koks,[25] Valter Kechirim,[26] va Frenk Xinchliff,[27] o'zlarining albomlarini chiqardilar va xalq uyg'onishchilari tomonidan hurmatga sazovor bo'ldilar.

Kabi ingliz folk qo'shiqlari uchun turli xil ma'lumotlar bazalari va to'plamlari mavjud Roud folk qo'shiqlari indeksi ga havolalarni o'z ichiga olgan 25000 ingliz tilidagi xalq qo'shiqlari, va Vaughan Williams yodgorlik kutubxonasi, xalqqa oid manbalarning multimedia arxivi.[28]

Progressiv xalq

Asosiy maqola: Progressiv xalq

Amerikalik musiqa uslublari va ingliz xalqlari o'rtasida birlashish jarayoni ham inglizlarning kelib chiqishi sifatida qaralishi mumkin ilg'or xalq xalq musiqasini yuksak musiqachilik yoki bastakorlik va aranjirovka mahorati orqali yuksaltirishga harakat qilgan musiqa.[29] Ko'plab ilg'or folklor ijrochilari o'zlarining musiqalarida an'anaviy elementni saqlab qolishdi, shu jumladan Yansh va Renburn Jakki Maksi, Denni Tompson va Terri Koks, shakllangan Beshburchak 1967 yilda.[30] Boshqalar an'anaviy elementlardan butunlay voz kechishdi va bu sohada Shotlandiya rassomlari ayniqsa nufuzli edilar Donovan Amerikada paydo bo'lgan ilg'or folklor musiqachilari unga eng ko'p ta'sir qilgan Bob Dilan, va Incredible String Band 1967 yildan boshlab o'zlarining kompozitsiyalariga o'rta asrlar va sharq musiqasini o'z ichiga olgan bir qator ta'sirlarni qo'shgan. Ulardan ba'zilari, xususan, Incredible String Band, ruhshunoslikning keyingi subgenriga yoki rivojlanayotganiga o'xshaydi. ruhiy xalq va sezilarli ta'sir ko'rsatdi progressiv va psixedel toshi.[31]

1960-yillarning oxiri va 70-yillarning boshlarida ingliz taraqqiyparvar xalqining qisqa muddatli gullashi bo'lgan, va shunga o'xshash guruhlar bo'lgan Uchinchi quloq tasmasi va Kvintessensiya kabi guruhlar tomonidan sharqiy hind musiqiy va mavhum ishlaridan so'ng Komus, Dando mil, Daraxtlar, Spirogira, O'rmon va Yan Dyuk De Grey, ammo tijorat muvaffaqiyatlari ushbu guruhlar uchun qiyin edi va ularning ko'pchiligi 1973 yilga kelib ajralib chiqishgan yoki turli yo'nalishlarda harakat qilishgan. Ehtimol, ushbu janrdagi eng yaxshi individual asar 1970-yillarning boshlarida rassomlar tomonidan yaratilgan bo'lishi mumkin. Nik Dreyk va Jon Martin, ammo ularni inglizcha "folk trubadours" yoki "qo'shiq mualliflari" orasida birinchisi deb hisoblash mumkin, ular asosan akustik bo'lib qolgan, lekin asosan o'zlarining shaxsiy kompozitsiyalariga tayangan individual ijrochilar.[32] Ulardan eng muvaffaqiyatli bo'lgan Ralf MakTell, kimning "London ko'chalari ’Ning 2-raqamiga yetdi Buyuk Britaniyaning yagona jadvallari 1974 yilda va musiqasi aniq xalqqa xos, ammo an'analarga, mahoratga yoki boshqa janrlar bilan birlashishga urinishlarga juda ishonmasdan.[33]

Britaniyalik folk-rok

Asosiy maqola: Britaniyalik folk-rok
Fairport konvensiyasi 1972 yilda Gollandiyalik televizion shouda

Britaniyada folklor roki 1960-yillarning o'rtalaridan oxirigacha Britaniyada guruhlar tomonidan rivojlandi Fairport konvensiyasi va Beshburchak Amerika elementlari asosida qurilgan folk rok, ikkinchisida Britaniya xalq tiklanishi.[17] Bu erda an'anaviy musiqa va rok va an'anaviy cholg'u asboblari bilan ijro etilgan an'anaviy uslubdagi kompozitsiyalar qo'llaniladi.[34] Kabi guruhlar tomonidan qabul qilinganida, bu 1970-yillarda eng muhim edi Beshburchak, Stili Span va Albion guruhi.[35] Atrofdagi kelt madaniyatlarida u tezda qabul qilindi va rivojlandi Bretan qaerda kashshof bo'lgan Alan Stivel va shunga o'xshash guruhlar Malikorn; yilda Irlandiya kabi guruhlar tomonidan Otquloq; va shuningdek Shotlandiya, Uels va Men oroli va Kornuol, ishlab chiqarish Kelt toshi va uning hosilalari.[36] U AQSh va Kanada kabi Buyuk Britaniyaga yaqin madaniy aloqalari bilan dunyoning ayrim qismlarida ta'sir ko'rsatdi va subgenerasini vujudga keltirdi. O'rta asr xalq roki va birlashma janrlari folk pank va xalq metallari.[37] 1980-yillarga kelib ushbu janr mashhurlikning keskin pasayishida edi, ammo 1990-yillardan boshlab umumiy xalq tiklanishining bir qismi sifatida omon qoldi va qayta tiklandi.[38]

Xalq pank

Asosiy maqola: folk pank

1980-yillarning o'rtalarida ingliz xalqining yangi qayta tug'ilishi boshlandi, bu safar xalqni pank-rokdan olingan energiya va siyosiy tajovuz bilan birlashtirdi. Rahbarlar kiritilgan Pogues, Ular osib ololmaydigan erkaklar, Oyster Band va Billi Bragg.[39] Xalq raqs musiqasi 80-yillarda, shuningdek, "English Country Blues Band" va "Tiger Moth" kabi aktyorlik bilan mashhur bo'ldi.[40] O'n yil o'tgach, ulardan foydalanish ko'rildi reggae guruh tomonidan ingliz folklor musiqasi bilan Edvard II va Red Hot Polkas, ayniqsa ularning seminalida Keling, Polkasteady 1987 yildan.[41]

Xalq metall

Asosiy maqola: xalq metallari
Eliza Kardi

60-yillarda ingliz folk rokining kelib chiqishiga juda o'xshash jarayonda inglizlar trash metall guruh Skyclad 1990 yil debyut albomi uchun bir nechta treklarda seans musiqachisidan skripkalarni qo'shdi Ona Yerning yo'ldan ozgan o'g'illari.[42] Bu yaxshi kutib olgach, ular doimiy skripka ijrochisini qabul qilishdi va Irlandiyada, Boltiqbo'yi va Germaniyada tarqalib ketgan folklor metalining kashshoflari sifatida tan olinadigan xalq va jig uslubidagi imzoga o'tdilar.[42]

An'anaviy xalq qayta tiklanishi 1990 yildan hozirgi kungacha

Ilg'or va elektr xalqlari singari an'anaviy ingliz xalqining eng yuqori cho'qqisi, 1970-yillarning o'rtalaridan oxirigacha bo'lgan vaqt bo'lib, u bir muncha vaqt asosiy oqimga o'tish bilan tahdid qilar edi. O'n yillikning oxiriga kelib, u pasayib ketdi.[43] Ehtimol, yangi musiqiy va ijtimoiy tendentsiyalar, shu jumladan folklor klublariga tashrif buyuruvchilar soni kamayib bora boshladi pank-rok, yangi to'lqin va elektron musiqa hukmronlik qila boshladi.[44] Martin Karti va Uotersonlar singari ko'plab aktyorlar muvaffaqiyatli ijrosini davom ettirgan bo'lsada, 1980-yillarda an’anaviy shakllarni izlovchi yangi aktlar juda kam edi. Bu 1990-yillarda yangi avlod bilan o'zgarishni boshladi. Kabi harakatlarning kelishi va ba'zan asosiy muvaffaqiyati Keyt Rusbi, Bellowhead, Nensi Kerr, Ketrin Tikell, Jim Moray, Spires va Boden, Set Lakeman, Frenk Tyorner, Laura Marling va Eliza Kardi, asosan an'anaviy materiallarning akustik ijro etilishi bilan bog'liq bo'lib, bu an'ana boyliklarida tub burilish yasadi.[22] Bu asrab olishning yaratilishida aks etdi BBC Radio 2 Xalq mukofotlari 2000 yilda bu musiqaga juda kerakli maqom va e'tiborni bergan va bugungi kunda Angliyada o'ttiz yildan oshiq vaqt mobaynida folklor musiqasining darajasi yuqori.[45]

Xalq klublari

Asosiy maqola: Xalq klublari

1950-yillarning boshlarida an'anaviy folklor musiqasini ijro etish uchun bo'sh joy beradigan bir nechta klublar mavjud bo'lsa-da, uning qisqa muddatli umr ko'rishlari inglizlarga to'g'ri keldi. skiffle aqldan ozish, taxminan 1956–8 yillarda.[17] Yangi klublar tarkibiga "Ballad va Blues" klubi a pab yilda Soho, Ewan MacColl tomonidan asos solingan.[12] 50-yillarning o'rtalaridan boshlab g'azablanish susaygach, ushbu klublarning aksariyati ingliz an'anaviy folklor materiallarini ijro etishga kirishdilar.[17] Ko'pchilik sof va an'anaviy musiqa turini ta'qib qiladigan qat'iy "siyosat klublari" ga aylandi.[12] 1960-yillarning o'rtalariga kelib, ehtimol Britaniyada 300 dan oshgan.[17] Aksariyat klublar oddiy yig'ilish bo'lib, odatda har hafta jamoat uyining orqa yoki yuqori qavatida joylashgan.[46] Ular asosan shaharlashgan o'rta sinflarning hodisasi bo'lib, ko'plab spektakllarning havaskorligi bilan mashhur edi.[47] Shuningdek, "qisqa muddatli" qo'shiqlarni ijro etadigan "rezidentlar" ham bor edi.[48] Keyinchalik ularning aksariyati o'zlarining asosiy ijrochilari sifatida paydo bo'lishdi, shu jumladan A. L. Lloyd, Martin Karti va Sherli Kollinz.[49] Ijrochilarning keyingi avlodi folklor klublari davridan juda muvaffaqiyatli asosiy martaba, shu jumladan Billi Konnoli, Jasper Carrott, Yan Dyuri va Barbara Dikson.[17] Klublar soni o'zgargan musiqiy va ijtimoiy tendentsiyalar sharoitida 1980-yillarda kamayishni boshladi. Ammo pasayish 1990-yillarning o'rtalarida folklor musiqasiga bo'lgan qiziqishning qayta tiklanishi bilan barqarorlasha boshladi va hozirda Buyuk Britaniyada 160 dan ortiq folklor klublari faoliyat yuritmoqda, shu qatorda ularning kelib chiqishlarini 1950-yillarga borib taqaladigan ko'plab klublar.[50]

Xalq musiqasi va radiosi

Angliyada televidenieda muntazam ravishda chiqish qiyinligi uzoq vaqtdan beri radio janr haqidagi xabardorlikni oshirish uchun asosiy mashhur vosita bo'lib qolishini anglatadi. EFDSS homiylik qildi BBC uy xizmati radio dasturi, Men chiqib ketganimda, tomonidan qilingan dala yozuvlari asosida Piter Kennedi va Seamus Ennis 1952 yildan 1958 yilgacha, bu, ehtimol, ushbu davrda keng tarqalgan aholini ingliz folklor musiqasi bilan tanishtirish uchun boshqa barcha omillardan ko'proq narsani qildi.[51] Lomaks kabi vaqti-vaqti bilan radioeshittirishlar ham muhim edi Baladalar va ko'klar (1951),[52] MacColl's Radio-balladalar (1958-64) va Qo'shiq tashuvchilar (1968).[51] Jon Peel uning xalq musiqasi tez-tez kiritilgan Top Gear 1968 yildan Radio One-da namoyish etildi, lekin 1970-yillarda pank kelganida uni tashladi.[51] Radioda xalq musiqasining eng izchil manbai bo'lgan BBC radiosi 2. 1967 yilda "Mening xalqim" chorshanba kuni efirga uzatildi. 1970 yilda Jim Lloyd tomonidan taqdim etilgan "Xalq juma kuni" boshlandi. 1972 yilda "Xalq yakshanba kuni" ga aylandi.[53] "Folkweave" tomonidan taqdim etildi Toni Kapstik 1975-8. "Ikki xalq" (chorshanba) 1980 yilda boshlangan. 1998 yilda Jim Lloyd dasturdan nafaqaga chiqqan va uning o'rniga Mayk Xarding. 2007 yilda u "Mayk Harding folklor shousi" deb o'zgartirildi. 2012 yil oktyabr oyida Mayk Xarding o'rniga dasturni tark etishi ma'lum qilindi Mark Radklif.[54] Yan A. Anderson, "fRoots" muharriri, shuningdek, vaqti-vaqti bilan Ikkinchi Radio uchun ketma-ketliklarni taqdim etdi. U "Jazz FM" da Jahon musiqiy dasturini olib bordi va keyin 10 yil davomida Bi-bi-sida translyatsiya qildi Jahon xizmati. Hozirda u internetda "fRoots Radio" ni olib boradi.[55] Yigirma yildan ko'proq vaqt davomida, 2006 yilgacha, Charli Gillett BBC Londonda jahon musiqasini namoyish etdi.

Xalq bayramlari

Asosiy maqola: xalq sayli
Kembrij Xalq Festivali 2008 yil

EFDSS tomonidan folklor festivallari 1950 yildan boshlab tashkil etila boshlandi, odatda mahalliy yoki mintaqaviy tadbir sifatida, masalan, raqsga e'tibor qaratilgan. Sidmut festivali (1955 yildan) va 1981 yilda tashlab ketilgan, ammo uch yildan so'ng qayta tiklangan Keele festivali (1965). Milliy folklor festivali. EFDSS 1980-yillarda ushbu festivallarda o'zining tashkiliy rolidan voz kechdi va aksariyati mahalliy va moliyalashtiriladi.[56] Eng yirik va eng obro'li ingliz xalq festivallaridan biri Kembrij 1965 yilda tashkil etilgan va 10 mingga yaqin odamni jalb qiladi.[56] Ehtimol, eng kattasi Fairportning Cropredy konvensiyasi 1979 yildan buyon folklor, britaniyalik folklor va rok-rassomlar uchun joy taqdim etdi; hozirda u yiliga 20000 kishigacha, shuningdek Fairport Convention va ularning do'stlarining chiqishlarini jalb qiladi.[57] Rok festivallari singari, folklor festivallari 1990-yillardan beri ko'payib bora boshladi va har yili Angliyada yuzdan ortiq folklor festivallari yoki har xil o'lchamlarda o'tkaziladi.[58]

Xalq musiqasi shakllari

Baladalar

Asosiy maqola: Baladalar

Balad - bu oyatning bir shakli, ko'pincha hikoya qiluvchi hikoya va musiqaga qo'shiladi. Ko'plab balladalar bitta varaq shaklida yozilgan va sotilgan keng. Ular, odatda, tuzilish jihatidan rivoyatga ega va takrorlashdan sezilarli foydalanadilar.[59] An'anaviy ballada sayr qilishdan kelib chiqqan deb hisoblangan minstrrellar kech o'rta asr Evropasining.[59] An'anaviy balladalarni mavzular bo'yicha tasniflash uchun juda ko'p turli xil va qarama-qarshi urinishlar bo'lgan, ammo keng tarqalgan turlari diniy, g'ayritabiiy, fojiali, muhabbat, tarixiy, afsonalar va hazil.[59] Ko'plab balladalarni ingliz ko'chmanchilari olib kelishdi Yangi dunyo, shu bilan Amerika xalq musiqasining asosini tashkil etadi. Frensis Jeyms Bayd yig'ilgan

Karollar

Asosiy maqola: Karollar

Karol - bu bayramona qo'shiq. Zamonaviy davrda karollar birinchi navbatda Rojdestvo bayrami bilan bog'liq, ammo aslida xristian bayramlari emas, balki yilning barcha bayramlari va mavsumlarini nishonlaydigan karollar mavjud. Ular bir shakldan kelib chiqqan doira raqsi 12-asr o'rtalaridan mashhur bo'lgan qo'shiqchilar hamrohligida.[60] XIV asrdan boshlab ular, ayniqsa, Advent, Pasxa va Rojdestvo kunlarida va diniy qo'shiqlarda protsessual qo'shiqlar sifatida ishlatilgan sirli o'yinlar.[61] Keyin ular rad etishdi Protestant islohoti bu ko'plab diniy bayramlarni taqiqlagan, ammo bu davrda ba'zi mashhur ashulalar yozilgan, shu jumladan 'Xolli va Ayvi va ular 19-asrdan kuchliroq tiklanib, taniqli bastakorlar tomonidan yozilib, moslashtirila boshlandi.[62]

Bolalar qo'shiqlari

Asosiy maqola: Bolalar qo'shiqlari
John Newbery's Kichkina chiroyli cho'ntak kitobi

Evropadagi bolalar uchun eng qadimgi xalq qo'shiqlari beshiklar keyingi o'rta asrlar davridan boshlab.[63] Ko'p o'tmay bizda bolalarning qisqa qofiyali qo'shiqlari yozilgan, ammo bolalar bog'chalarining aksariyati 18-asrga qadar yozilmagan.[64] Birinchi ingliz kollektsiyalari Tommy Thumbning qo'shiqlar kitobi va davomi, Tommi Thumbning "Chiroyli qo'shiqlar kitobi", ikkalasi ham 1744 yildan oldin nashr etilgan deb o'ylashadi va John Newbery ning, Ona g'ozning kuyi, yoki, Beshik uchun sonetlar (c.1785), bizda ko'plab klassik qofiyalar mavjud bo'lgan birinchi yozuv.[65] Ushbu qofiyalar turli xil manbalardan, shu jumladan an'anaviylardan kelib chiqqan ko'rinadi topishmoqlar, maqollar, balladalar, satrlari Mummerlar sahna asarlari, ichimlik qo'shiqlari, tarixiy voqealar va qadimgi butparastlarning marosimlari.[65] Hozirgi tanasining taniqli "an'anaviy" inglizcha qofiyalarining deyarli yarmi 18-asr o'rtalarida ma'lum bo'lgan.[64] Ushbu davrdan boshlab biz ba'zan "kabi qofiyalarning kelib chiqishi va mualliflarini bilamiz.Twinkle Twinkle Little Star '18-asr frantsuzcha kuyni ingliz yozuvchisi she'ri bilan birlashtirgan Jeyn Teylor va 'Meri kichik qo'zi bor edi 1830 yilda Bostonlik Sara Xosefa Xeyl tomonidan yozilgan.[65] Ushbu sohada birinchi va, ehtimol, eng muhim to'plam bu edi; Jeyms Orchard Halliwell ning, Angliyaning bolalar bog'chasi (1842) va Ommabop qofiyalar va ertaklar 1849 yilda.[66] Uyg'onish avjida Sabine Baring-Gould ishlab chiqarilgan Bolalar bog'chasining qo'shiqlari kitobi (1895) va Endryu Lang ishlab chiqarilgan Kreş uchun qofiya kitobi 1897 yilda.[64] Bolalar qo'shiqlari, xalq qo'shiqlaridan farqli o'laroq, tirik va doimiy an'analarning bir qismi bo'lib qoldi, chunki boshqa manbalardan qo'shilgan va yozma variantlardan ta'sirlangan bo'lsa ham, aksariyat kattalar bolaligida og'zaki manbalardan o'rgangan qo'shiqlarini etkazishadi.[65]

Erotik xalq qo'shiqlari

So'nggi ingliz folk qo'shig'ining sharhlovchilari ta'kidlashlaricha, sevgi, shahvoniy va hatto pornografik mavzular asosiy an'anaviy mavzular edi va agar ko'proq balladalar hisoblansa, bosma qo'shiqlarning eng katta guruhlari bo'lishi mumkin.[67] Birinchi tirilishdagi ko'plab kollektsionerlar bunday qo'shiqlarni e'tiborsiz qoldirdilar yoki kambag'al ularni nashr etish uchun, Frensis Child va Sesil Sharp o'z to'plamlarida bo'lgani kabi.[68] Ikkinchi qayta tiklanishda erotik folklor qo'shig'i an'anaviy qo'shiq kanonining bir qismi sifatida qabul qilindi, Gershon Legman's kabi kitoblarning nashr etilishi yordam berdi, Shox kitobi: Erotik folklor bo'yicha tadqiqotlar (1964) va Ed Cray's, Erotik Muse: Amerika Bawdy Qo'shiqlari, ilgari nashr qilinmagan ko'plab qo'shiqlarni nashr etgan (1968).[69] Angliyada A. L. Lloyd erotik qo'shiqlarni kanonga kiritish, ma'ruza qilish va mavzu bo'yicha nashr etishda muhim rol o'ynagan. U yozib oldi Tumanli shabnam va boshqa an'anaviy inglizcha sevgi qo'shiqlari 1959 yilda va keyin Bushdagi qush, an'anaviy erotik qo'shiqlar 1966 yilda Frenki Armstrong va Anne Briggs.[70] U erotik qo'shiqlarni, ya'ni muhabbat bilan shug'ullanadigan va shahvoniylikni jinsiy aloqani taklif qiladigan ("Bonni qora quyon" va "Bushdagi qush" kabi) va pornografik ashulalarni aniq va shu sababli e'tiborga loyiq bo'lmagan qo'shiqlarni ajratdi.[71] Biroq, ayrim mualliflar ushbu farqlarni saqlab qolish qiyinroq. Garchi erotik qo'shiqlar folklor klublarida va folklor musiqachilari orasida odatiy narxlarning bir qismiga aylangan bo'lsa-da, aniqroq qo'shiqlarning nisbatan kam qismi yozuvga kiritilgan.[72]

Shoxchalar

Asosiy maqola: Hornpipe

Hornpipe - bu kamida 17-asrgacha ingliz qamish asbobidan o'z nomini olgan deb hisoblangan raqs musiqasi uslubi.[10] 18-asrning o'rtalarida u o'zining zamonaviy xarakterini o'z zimmasiga olgan holda, 3/2 vaqtdan 2/2 ga o'zgargan va ehtimol mashhurlik cho'qqisiga chiqqan, chunki u teatr tomoshalarining asosiy qismiga aylangan.[73] Bu ko'pincha bilan bog'liq Dengizchining mo'ylovi, lekin ko'plab individual va guruhlarning asosini tashkil etdi mamlakat raqslari zamonaviy davrga.[74] Ko'pgina raqslar singari u ham Shotlandiyada va Irlandiyada qabul qilingan va o'ziga xos milliy xususiyatga ega bo'lib, Amerikaga ko'chib ketgan.[75]

Jiglar

Asosiy maqola: Jiglar

Jiglar - Angliyada zinapoyalar, burilishlar va sakrashlar bilan jo'shqin raqsga hamroh bo'lish uchun ishlab chiqilgan raqs musiqasi uslubi. Jig atamasi frantsuzcha "giguer" dan olingan bo'lib, "sakrash" degan ma'noni anglatadi.[10] Bu 16-asrda raqs sifatida tanilgan, ko'pincha 2/4 vaqt ichida va bu atama 16-asr o'yinlarida raqs o'yin-kulgisi uchun ishlatilgan.[76] Raqs, ayniqsa, 6/8 vaqtdan boshlab musiqa bilan, 9/8 vaqtdan boshlab sirpanish jiglar bilan bog'lana boshladi.[75] 17-asrda raqs Irlandiyada va Shotlandiyada qabul qilindi, u erda ular juda moslashgan va ular ko'pincha qaysi mamlakatlar bilan bog'langan.[77] Angliyaning ba'zi, odatda shimoliy qismlarida, bu raqslar "Gallop" deb nomlanishi mumkin edi, masalan, Derbyshildagi Winster Gallop (garchi bu kelib chiqishi Winster Morrisga bog'liq bo'lsa).

Morris raqsi

Asosiy maqola: Morris raqsi
1600 yilda ingliz Elizabethan masxarabozi Uill Kempe Norvichdan Londonga jig raqsiga tushmoqda

Morris raqsi - bu ingliz xalq raqsining bir turi, odatda musiqa hamrohligida va raqs guruhi tomonidan ritmik qadam bosish va xoreografiya figuralarini ijro etishga asoslangan bo'lib, ko'pincha tayoq, qilich va ro'molcha kabi asboblardan foydalaniladi. Ism raqsning ispan (musulmon) uslublari uchun "mavrish raqsi" atamasidan kelib chiqqan deb o'ylashadi va o'sha davrdagi ingliz sud raqslaridan kelib chiqishi mumkin.[78] Morris raqsi XV asrning o'rtalariga to'g'ri keladi degan taxminlar topilgan, ammo xristiangacha kelib chiqishi haqidagi da'volar hozirda deyarli rad etilgan.[3] Morris raqsi 17-asrning boshlarida Angliyada, xususan, cho'ponliklarda keng tarqalgan, ammo shu davrda va undan keyingi festivallar bilan birga bostirilgan ko'rinadi. Ingliz fuqarolar urushi.[79] Bu keyin tiklandi Qayta tiklash 1660 yilda, ammo 19-asrga kelib qishloq xo'jaligi va sanoat inqiloblaridan so'ng, Sesil Sharp kabi kollektsionerlar bu amaliyotni, xususan, u o'zining Cotswolds.[12] Bu an'analarning tiklanishiga olib keldi, garchi u shakl va amaliyotga ham ta'sir ko'rsatgan bo'lsa.[80] Morris raqsi ikkinchi tirilishda qo'shiqsiz qo'shiq aytish uchun orqa o'rindiqni egalladi, ammo u bir necha raqs musiqa albomlarini, shu jumladan nufuzli musiqani ishlab chiqargan Eshli Xetingsz singari ingliz folk-rok musiqachilarining e'tiborini jalb qilganida yanada kuchayib ketdi. Morris On 1972 yildagi seriyalar.[81] An'anaga ko'ra Morris raqsi a bilan hamroh bo'lgan quvur va tabor yoki a skripka, ammo 19-asrning o'rtalaridan boshlab eng keng tarqalgan asboblar melodeon, akkordeon, kontsertina va barabanlar.[82] Xususan, Cotswold va Border morris-da ko'plab kuylar alohida raqslarga bog'langan. Morris raqsi Cotswold morris, shimoliy-g'arbiy morris, Chegara Morris, reper raqsi va Uzoq qilich raqsi.

E'tiroz qo'shiqlari

Asosiy maqola: Norozilik qo'shiqlari § Britaniyadan kelgan erta norozilik qo'shiqlari

Ehtimol, inglizcha norozilik qo'shig'ining eng qadimgi yorqin namunasi "Odam delf etganda va Momo Havo qachon janob bo'lgan?" Qofiyasi bo'lib, Dehqonlar qo'zg'oloni 1381 dan.[83] Ijtimoiy qaroqchilarni ulug'lagan qo'shiqlar Robin Gud, 14-asrdan boshlab norozilikning yanada nozik shakli sifatida qaralishi mumkin.[84] Bilan Levellers va Diggers 17-asr o'rtalarida, "The." balladasida bo'lgani kabi, ko'proq ochiq tanqidlar paydo bo'ldi Diggers 'Song ".[85] Taxminan o'sha davrdan boshlab, odamlarning hayotiga etkazilgan xarajatlarni ko'rsatib, urushga qarshi norozilik qo'shiqlari paydo bo'layapti, masalan, "Maunding Souldier yoki Warre Fruits of the Wregery" kabi, mayib askarning iltimosnomasi sifatida tasvirlangan. O'ttiz yillik urush.[86] XVIII asrdan boshlab sanoatlashtirish bilan.[87] "Bonni Bunch of Roses" va "Napoleon's Dream" singari qo'shiqlarida Napoleon Bonapart qo'shiqda abadiylashtirilgan ajablantiradigan ingliz folk qahramoni.[88] Mehnat yanada uyushganligi sayin qo'shiqlar madhiya va targ'ibot sifatida, konchilar uchun "Qora oyoq konchi" singari, zavod ishchilari uchun esa "Zavod qo'ng'irog'i" kabi qo'shiqlar ishlatilgan.[89] Ushbu sanoat norozilik qo'shiqlari, keyinchalik 19-asr va 20-asrning boshlarida inglizlarning xalqqa qayta tiklanishi paytida katta e'tiborga olinmadi, ammo shunga o'xshash raqamlar bilan yozib olindi. A. L. Lloyd kabi albomlarda Temir muz (1963).[21] 1980-yillarda anarxist rok guruhi Chumbavamba sifatida an'anaviy ingliz noroziligining bir nechta versiyasini yozib oldi Ingliz qo'zg'olonchilarining qo'shiqlari 1381–1914.[90] Ewan MacColl 1950 yillarda ingliz norozilik qo'shiqlarining etakchi yozuvchisi bo'ldi, masalan, "Ballad of Xoshimin "va" Ballad of Stalin ", shuningdek tinchlikka tahdid soluvchi yadro tahdidiga oid beqaror norozilik va dolzarb qo'shiqlar, xususan" Atom bombasiga qarshi ".[91] Namoyishning etakchi ovozi Tetcherit 1980-yillarda Angliya edi Billi Bragg, norozilik qo'shiqlari uslubi va asosiy siyosiy faolligi asosan ularni eslatardi Vudi Gutri.[92]

Dengiz shanties

Asosiy maqola: Dengiz shanties
Dengizchilar musiqiy akkompaniyalar bilan kapstanda ishlaydi

Dengiz shanties - bu bir turi ishchi qo'shiq an'anaviy ravishda dengizchilar tomonidan kuylanadi. Frantsuzcha "chanter" so'zidan kelib chiqqan bo'lib, "qo'shiq aytishni" anglatadi, ular XV asrning boshidan kelib chiqishi mumkin, ammo yozib olingan misollarning aksariyati 19-asrdan kelib chiqqan.[93] Shanties odatda ko'p mehnat talab qiladigan suzib yurish va keyinchalik bug 'kemalarida jamoaviy vazifalarni bajarishda yordam beradigan sekin ritmik qo'shiqlar edi. Ko'pchilik edi qo'ng'iroq qilish va javob berish qo'shiqlar, bitta ovoz bilan (shantyman) etakchi qatorni kuylaydi va qolgan dengizchilar birgalikda javob berishadi. Ular turli xil manbalardan, shu jumladan raqslardan, xalq qo'shiqlaridan, polkalar, vals va hatto G'arbiy Afrikadagi ishchi qo'shiqlar.[94] Turli xil qo'shiqlar turli xil vazifalar uchun foydali bo'lganligi sababli, ular an'anaviy ravishda nisbatan qisqa vaqt ichida tez tortishni talab qiladigan vazifalar uchun uchta asosiy toifaga bo'linadi; tortishish uchun ko'proq o'rnatish vaqtini talab qiladigan og'irroq ish uchun halyard shanties; va Kapstan shanties, doimiy ritmni talab qiladigan, lekin chiziqlar bilan ishlashni nazarda tutmaydigan, takrorlanadigan, uzoq muddatli vazifalar.[94] Mashhur shantiesga quyidagilar kiradi:Insonni pastga urib yuboring va 'Janubiy Avstraliyaga bog'langan ', ulardan ba'zilari jamoat ongida qolgan yoki mashhur yozuvlar bilan qayta tiklangan. Persi Greyinger kabi shaxslarning birinchi tirilishida dengiz shantiesiga qiziqish bor edi,[95] fonograflarga bir nechta an'anaviy versiyalarni yozib olgan.[96][97][98] Ikkinchi uyg'onishda A. L. Lloyd 1965 yildan dengiz qo'shiqlarining bir nechta albomlarini yozib, ularni ommalashtirishga urindi.[21]

Urush qo'shiqlari

Asosiy maqola: Urush qo'shiqlari

Angliyada harbiy va dengiz mavzulariga oid qo'shiqlar chiqishning asosiy qismi bo'lgan ballada XVI asrdan boshlab yozuvchilar, shu jumladan inglizlarning eng qadimgi balladalaridan biri ‘Chevy Chase balladasi Shotlandiya g'alabasi voqealari bilan shug'ullanadigan Otterburn jangi 1388 yilda va XV asr boshlariga to'g'ri kelishi mumkin.[99] XVI asrning oxiri va XVII asr boshlarida Angliya va Ispaniya o'rtasidagi to'qnashuvlar voqealarni, xususan dengiz dengizidagi mojarolarni tasvirlaydigan bir qator balladalarni keltirib chiqardi Ispaniya Armada.[86] The Ingliz fuqarolar urushi (1642-1653) "ning kichik janrini yaratdi.Kavaler balladalar ", shu jumladan" Qachon Qirol yana tinchlikda ".[100] Ularning aksariyati moslashtirildi va qayta ishlatildi Yakobitlar "dan keyinShonli inqilob 1688 yil.[101] 17-18-asrlarda Angliya-Frantsiya urushlarida ko'proq vatanparvarlik nuqtai nazaridan tasvirlangan ko'proq tasviriy asarlar ko'rilgan, ammo ba'zilari, masalan, "Kapitan o'limi" (1757) kabi yo'qotish va mag'lubiyat bilan shug'ullangan.[86] Polk identifikatorlari paydo bo'lganligi sababli "kabi qo'shiqlar yurish uchun qabul qilindi.Britaniya Grenadierlari ’, 17-asrdagi raqs kuyiga asoslangan.[102] Chiqish paytida toshqinga aylandi Frantsiya inqilobchisi va Napoleon urushlari (1797–1815), "kabi ko'plab vatanparvarlik qo'shiqlarini ko'rish.Emanning yuragi 'Va ingliz dengizchisining "Jolli" stereotipining paydo bo'lishi Jek Tar ’, Ko'plab baladlarda va sahnada paydo bo'lgan.[103] Musiqiy zal mashhur musiqada etakchilikni o'z qo'liga ola boshlagach va xalq qo'shiqlari pasayib ketgach, 19-asrning oxirida xalq qo'shiqlari zamonaviy urushlar bilan shug'ullanishni to'xtatdi.[iqtibos kerak ]

Ishchi qo'shiqlar

Asosiy maqola: Ishchi qo'shiqlar

Ishchi qo'shiqlarga vazifani bajarishda aytilgan musiqa (ko'pincha vaqtni muvofiqlashtirish uchun) yoki ulangan bo'lishi mumkin bo'lgan vazifa yoki savdoga bog'langan qo'shiq kiradi. hikoya, tavsif yoki norozilik qo'shig'i. Angliyada ishchi qo'shiqning ikkita asosiy turi qishloq xo'jaligi ishchi qo'shiqlari, odatda ritmik kapella qo'shiqlar Angliyaning janubi-g'arbiy qismida keng tarqalgan "Hosil qo'shig'i" singari jismoniy va tez-tez takrorlanadigan vazifada ishlaydigan odamlar tomonidan kuylanadi.[104] Qo'shiqlar, ehtimol, zerikish hissiyotlarini kamaytirish bilan birga mahsuldorlikni oshirishga qaratilgan.[105] Ishchi qo'shiqlar ritmlari guruh yoki to'dada jismoniy harakatni sinxronlashtirishga xizmat qilishi mumkin. Sanoat xalq qo'shig'i 18-asrda Britaniyada paydo bo'ldi, chunki ishchilar o'zlari yaxshi bilgan musiqani, shu jumladan balladalar va qishloq xo'jaligida ishlaydigan qo'shiqlar va ularni yangi tajriba va sharoitlarga moslashtirdi.[106] Qishloq xo'jaligi ishlarining qo'shiqlaridan farqli o'laroq, ishchilar o'rtasidagi harakatlarni sinxronlashtirish uchun musiqadan foydalanish ko'pincha keraksiz edi, chunki tezligi borgan sari suv, bug ', kimyoviy va oxir-oqibat elektr energiyasi bilan belgilanib borar edi va ko'pincha sanoatning shovqini tufayli imkonsiz edi.[107] Natijada, sanoat xalq qo'shiqlari ish, sharoit yoki siyosiy xususiyatni tavsiflovchi bo'lib, ularni eng qadimgi qo'shiqlarga aylantirdi. norozilik qo'shiqlari va ish paytida emas, balki ish smenalari orasida yoki bo'sh vaqtlarda kuylangan. Ushbu naqshni ko'rish mumkin to'qimachilik ishlab chiqarish, tog'-kon sanoati va oxir-oqibat po'lat, kemasozlik, temir yo'lsozlik va boshqa sohalar.[106]

Mintaqaviy an'analar

Sharqiy Angliya

Molli raqqosalari Whittlesea somon oyi Festival

Angliyaning ko'plab mintaqalarida bo'lgani kabi, o'ziga xos mahalliy cholg'u asboblari ham kam va ko'plab qo'shiqlar Buyuk Britaniyaning qolgan qismida va Irlandiyada eshitilgan, ammo mintaqalarning alohida shevalari ba'zan ularga alohida markani va har qanday ingliz mintaqasining eng uzun qirg'oqlaridan biri bilan qarz bergan bo'lsa ham. , dengiz haqidagi qo'shiqlar ham alohida ahamiyatga ega edi. G'arbiy mamlakat bilan bir qatorda, bu 19-asr o'rtalaridan melodeonning ko'plab taniqli amaliyotchilarini ishlab chiqaradigan qamish asboblarini eng qat'iy qabul qilgan mintaqalardan biri edi. G'arbiy mamlakat singari, u hali ham faol an'analar mavjud bo'lgan kam sonli mintaqalardan biridir qadam raqsi va Midlands kabi an'analar Molli raqsi 1930-yillarda vafot etdi.[108] Birinchi qayta tiklanishning folklor qo'shiqchilari tomonidan mintaqa nisbatan beparvo qilingan. Lyusi Brudvud va Sesil Sharplar, shuningdek, Voban Uilyams, shuningdek Norfolk va Esseksda 1905 yildan beri Kambidjeshirda to'plangan, ammo eng muhim mintaqaviy shaxs bastakor edi. Ernest Jon Moeran 1920 yillarda Norfolk va Suffolkda 150 dan ortiq qo'shiqlarni to'plagan.[109] Ikkinchi xalq uyg'onishi ko'plab Sharqiy Angliya folklor musiqachilarining kashf qilinishiga olib keldi, jumladan Suffolk melodioni Oskar Vuds, Norfolk qo'shiqchilari Sem Larner (1878-1965), Garri Koks (1885-1971) va Valter Pardon (1914-96); Suffolk skripti Xarki Nesling (1890-1978); Suffolk qo'shiqchisi va bargman Bob Roberts (1907-82), ularning aksariyati yozilgan Mavzu yozuvlari.[110] Ehtimol, eng ta'sirli folklor raqsi musiqiy albomi bo'lgan Ingliz raqs musiqasi (1965), Reg Hall va Bob Davenport tomonidan asosan Norfolk musiqachilari bilan birlashtirilib, bu xalq cholg'u asboblarining birinchi musiqiy yozuvi edi.[22] Norfolkdan ham bor edi Piter Bellami, yakka loyihalarda kim, bilan Yosh an'ana va teatr tomoshalarida, ehtimol, qayta tiklanish davridagi eng nufuzli musiqachilardan biri bo'lgan.[111] Norfolk melodi ijrochisi va qo'shiqchi Toni Xol an'anaga o'ziga xos uslubni taqdim etdi.[112] Sharqiy Angliya 1970-yillarda ingliz folk-rok sahnasiga o'z hissasini qo'shdi va qisqa muddatli, ammo yaqinda isloh qilingan "Midwinter" va "Stone Angel" guruhlarini yaratdi. Buyuk Yarmut va qanchalik muvaffaqiyatli bo'lsa Tolgus novdalari to'rtta albom ishlab chiqargan Kembrijdan.[113] So'nggi yillarda mintaqadagi eng muvaffaqiyatli xalq rassomlari, ehtimol Esseks tug'ilgan Billi Bragg va Norfolk tug'ilgan Bet Orton.[114] Mintaqada ko'plab folklor klublari mavjud va ko'plab folklor festivallari, shu jumladan Stili Spanning Spanfest Kentuell Xoll, Suffolk va Kembrij xalq festivali, odatda taqvimdagi eng obro'li deb hisoblanadi.[58] 2000 yildan beri East Anglian Tradical Music Trust mintaqada xalq musiqasini targ'ib qiladi va har yili avgust oyida "An'anaviy musiqa kuni" ni tashkil etadi.[115]

Midlands

Xalq musiqasida aniq chegaralar yo'qligi va o'ziga xoslik yo'qligi sababli Ingliz Midlands dastlabki tiklanishlarga nisbatan kam qiziqish uyg'otdi. However, in more recent years a distinct cultural heritage has been recognised including unique folk traditions and songs, many associated with the regions industrial connections. It has also produced a number of important performers and some particular local instruments, such as the Lincolnshire sumkalar, however the last player, John Hunsley, died in the 19th century and no actual examples of the pipes have survived.[116] From the 19th century the instruments used appear to have been much like those in other regions, with fiddles, accordions and eventually silver and brass. Although, some traditions, like Molli raqsi died out in the 1930s, the Midlands retained strong traditions of both ceremonial and social dance, particularly in the south Midlands and Cotswolds and in the distinctive Chegara Morris from Herefordshire, Worcestershire and Shropshire.[22] The region also furnished some important material for folk songs, including a claim by Nottinghamshire for one of the most popular series of ballads, that of Robin Gud, while local places appear in songs such as ‘The Leicester Chambermaid’ and ‘Oxford’ or ‘Worcester City’.[117] Folk song collecting in the first revival was much less comprehensive than for many other regions. In the 1860s Llewellynn Jewitt, collected songs from Derbyshire, and some songs were printed by Georgina F. Jackson in her study of Shropshire folk lore.[118] Cecil Sharp's interest in the region was largely confined to the south, particularly the Cotswold morris villages of Oxfordshire and Warwickshire, which provided him with an archetype of English ceremonial dance.[12] From 1905, Percy Grainger was actively collecting in Lincolnshire, acquiring recordings of songs that would provide the basis for his Linkolnshir Pozi (1937).[119] It was not until the early 1970s that the broader heritage of the region, including the many industrial and work songs associated with mining or Kulollar, began to gain serious attention.[120] Despite this neglect there was an active folk scene in the region, which produced several key artists of the second revival from the 1960s, including Anne Briggs from Nottinghamshire, O'rnatuvchilar dan G'arbiy Midlend and from Birmingham one of the most influential groups of the period, the Ian Campbell Folk Group, which numbered among its members later British folk rock musicians Deyv Swarbrick va Deyv Pegg.[17] Slightly later a number of folk groups came out of Derbyshire, including The Druids, Ram's Bottom Band and Muckram Wakes, which included one of the most highly regarded modern performers Jon Tams.[17] Lincolnshire has produced Martin Simpson, perhaps the most highly regarded folk guitarist of his generation.[121] Birmingham's position as a centre for folk music has been emphasised by its place as the home of the Birmingem konservatoriyasi Folk Ensemble, led by former Albion guruhi fiddler Joe Broughton, which provides something of a clearing house of promising young folk musicians.[122] The regions has numerous folk clubs and host many major folk festivals, including those of Geynsboro, Linkolnshir; Loughboro, Lestershir; Shrewsbury, Shropshir; Uorvik, Warwickshire; va Mozli, West Midlands.[123]

Shimoliy G'arbiy

Although relatively neglected in the first folk revival Shimoliy G'arbiy Angliya had a rich tradition of balladry stretching back at least to the 17th century and sharing in the tradition of Chegara balladalari, including perhaps the finest ‘Chevy Chase balladasi ', thought to have been composed by the Lancashire-born sixteenth century minstrel Richard Sheale.[124] Lancashire in particular was a common location for folk songs, including ‘The Lancashire Miller’, ‘Warrington Ale’ and ‘The soldier’s farewell to Manchester’, beside several local Vassailing qo'shiqlar.[124] With a variety of dialects and acting as something of a crossroads for the cultures and immigrants of England, Scotland and Ireland, there is a distinctive local character to folk music, which expressed itself in local enthusiasm that emerged as a major factor within the wider folk movement in the second revival. The key event in the history of folk music in the counties of the north west of England was the Industrial Revolution, which divided the region economically and culturally into a northern, often highland and pastoral region, in Westmorland and Cumberland and a more urbanised and industrialised southern zone with large and growing conurbations like Manchester and Liverpool, where changing social and economic patterns emerged in new traditions and styles of folk song, often linked to migration and patterns of work, these included processional dances, often associated with rushbearing and the Wakes Week festivities and types of qadam raqsi, eng mashhur raqsga tushish.[125] These were very different from the styles of dance that collectors like Cecil Sharp had encountered in the Cotswolds and were largely dismissed by him as contaminated by urbanisation, yet they were, and remain, a thriving tradition of music and dance.[12] A local pioneer of folk song collection in the first half of the 19th century in Lancashire was Shakespearian scholar Jeyms Orchard Halliwell, and he was followed a little later by Jon Xarland, William E. Axon, Thomas T. Wilkinson and Sidney Gilpin, who performed a similar service for Cumberland.[126] Most of these works, although important in unearthing, and in some cases preserving, locally relevant ballads, largely depended on manuscript sources, rather than oral collection and often did not give tunes, but only lyrics.[124] It was not until the second folk revival that the full range of song from the region began to gain attention. The region not only produced one of the major figures of the revival in Ewan MacColl but also a local champion in Garri Boardman, who from 1965 onwards probably did more than anyone to popularise and record the industrial folk song of the region, in several albums and books.[127] The region produced no significant bands in the folk rock movement of the 1970s but can claim one of the most significant figures, as Maddy Prior was brought up in Blackpool. However, perhaps the most influential folk artists to emerge from the region in this period were folk troubadour Roy Xarper and comedian and broadcaster Mayk Xarding.[128] More recently it has produced some significant performers including guitarist Ken Nikol and mother and daughter singer songwriters Kris va Kellie While.[129] The region is home to numerous folk clubs, many of them catering to Irish and Scots folk. Folk festivals include the Fylde Folk Festival at Flitvud Lankashirda.[130]

Nortumbriya

Asosiy maqola: Northumbria musiqasi
Billy Purvis (1784–1853) one of the last travelling minstrel pipers of the south of Scotland and the north east of England.

Nortumbriya possesses a distinctive style of folk music with a flourishing and continuing tradition.[22] The region is particularly noted for the unique Northumbrian mayda quvurlari va kuchli skripka tradition that was already well-established in the 1690s. Northumbrian music is characterised by considerable influence from other regions, particularly southern Shotlandiya, other parts of the north of England and Irlandiya.[22] Local tunes were collected from the mid-18th century by figures including Henry Atkinson and William Vickers and in the first revival by John Bell, Bruce. J. Collingwood and John Stokoe.[131] Qisqa muddatli Northumbrian kichik quvurlar jamiyati was founded in Newcastle in 1893 and the Northumbrian Pipers 'Jamiyati in 1928, and they are generally credited with keeping the distinctive tradition alive.[132] Chegara balladalari to'planganlarning asosiy qismi edi Frensis Jeyms Bayd va uning o'n jildlik to'plamining oltinchi jildining katta qismini tashkil etadi Ingliz va Shotlandiya mashhur balladalari (1882–98).[133] Ikkinchi xalq uyg'onishi ushbu asarga bag'ishlangan bir qator aktlarni ko'rdi va muvaffaqiyatga erishdi. Probably the most influential piper at that time was Billi Pigg.[20] Performers such Louis Killen, The Yuqori darajadagi ijarachilar va Bob Davenport milliy va xalqaro auditoriyaga Northumbrian folklorini olib keldi.[22] The 1970s saw folk rock bands like Lindisfarne, and the more traditionally focused Jek Lad va Kirpi pirogi.[22] More recently, Northumbrian folk music, and particularly the use of the Northumbrian pipes, has become one of the liveliest and most widely known subgenres of folk music in Britain, with artists like fiddler Nensi Kerr, piper Ketrin Tikell va Reychel Unthank va Winterset gaining international reputations.[22] Ayni paytda viloyatda o'ttizdan ortiq faol folklor klublari faoliyat ko'rsatmoqda va bir nechta yirik folklor festivallari, shu jumladan an'anaviy musiqa festivali o'tkazilmoqda Rotberi.[134][135]

The South East

Even excluding Sussex and London, Janubiy-sharqiy Angliya has been one of the key areas of English folk music and collection. It had retained a strong tradition of wassailing, and seafaring songs were important in the coastal counties of Kent and Hampshire. Arguably the published collection of oral material was made in this area by John Broadwood, as Old English Songs, As Now Sung by the Peasantry of the Weald of Surrey and Sussex (1843).[136] When the first revival was at its height in the first decade of the 20th century, George Gardiner and Alice Gillington both collected songs in Hampshire, Lucy Broadwood in Surrey, Hampshire and Oxfordshire, Alfred Uilyams in Oxfordshire and Berkshire and Cecil Sharp in Berkshire, Buckinghamshire, and Kent.[137] In the second folk revival the region contributed several figures, with probably the most important being Martin Carthy from Hertfordshire. The most significant British folk rock group from the region were the Oyster Band, formed in Canterbury, while guitarist John Martyn came from Surrey and fiddle player Chris Leslie from Banbury in Oxfordshire. From the current crop of young folk musicians probably the most prominent are Spires va Boden from Oxfordshire and Kris Vud, born in Kent. The region is host to numerous folk clubs, and festivals, including the Oxford festival and Fairport's Cropredy Convention in Oxfordshire and St Albans in Hertfordshire.[130]

London

Street vendors in a 16th-century print

Despite being the centre of both folk revivals and the British folk rock movement, the songs of London were largely neglected in favour of regional and rural music until relatively recently. London, unsurprisingly, was the most common location mentioned in English folk songs, including ‘London is a Fine Town’, and the ‘London Prentice’ and it was the centre of the broadside publishing industry.[86] From the 17th century to the 19th, street singers were characteristic of London life, often selling printed versions of the songs they sang.[138] The capital was home to the Folk-Song Society and the English Folk Dance Society from the late 19th century, but the most distinctive genre of London music, its many ko'cha yig'laydi, were not considered folk music by mainstream collectors and were recorded and published by figures such as Andrew White in Old London Street Cries ; and, The Cries of To-day (1885).[139] Both Ewan MacColl and A. L. Lloyd gravitated to London in the 1950s, it was the base of Topic Records and it was there that the first folk clubs were formed before they spread out across the country.[4] It was also the home of folk musicians like Ashley Hutchings, Richard Thompson and Simon Nicol who formed Fairport Convention, and many artists, like Bert Jansch and Davy Graham, moved there in order to be able to pursue their careers or for the greater networks and opportunities the capital allowed.[140] More recent performers of folk music include Nuh va kit, Emma Lee Moss, Mumford va o'g'illar va The Border Surrender.[141]

Sasseks

Asosiy maqola: Sasseks musiqasi

Sasseks has disproportionately affected the history of English folk music. This was due to a flourishing tradition of xalq raqsi, Mummerlar plays and folk song, but also in part because of the rural nature of the county in the late 19th and early 20th centuries and yet its relatively close proximity to London. It was thus a rich and convenient place for the collectors of the first folk song revival, including Keyt Li, Lucy Broadwood and W. P. Merrick.[142] Sussex material was used by the composers of the English pastoral school, for example in Persi Greyinger ’s arrangement of ‘The Sussex Mummers' Christmas Carol’, Ralf Vaughan Uilyams ' use of the tune ‘Monk darvozasi ’ as a setting for Jon Bunyan Ning 'To be a Pilgrim ”Va Jorj Buttervort ’s arrangement of 'Folk Songs from Sussex'.[143] Most important of the collector's sources were the Mis oilasi ning Rottingdean, who emerged as authorities on folk song and eventually as major recording artists.[144] Sussex folk song also had a formative effect on one of the major figures of the second revival, as it was as a child of five in Sussex that A. L. Lloyd first heard folk music.[145] Other performers include Skanerni skanerlash, Henry Burstow va opa-singillar Dolli va Sherli Kollinz. Sussex songs were also the foundation of the repertoire of the influential Young Tradition.[146] The county has over twenty folk clubs and other venues hosting folk music by organisations such as Acoustic Sussex. There are also annual folk music festivals at Istburn, Krouli va Lewes.[147]

G'arbiy mamlakat

Kornuol

Asosiy maqola: Kornuol musiqasi
The red party attending the red 'obby 'oss in the Padstow mayday festival

Ning musiqasi Kornuol is often noted for its similarity to that of Bretan and, as a result of the close physical and cultural ties between the two peninsulas, some older songs and carols share the same root as Breton kuylar.[148] From the late Middle Ages the skripka (olomon in Cornish), bombardimon (horn-pipe), sumkalar va arfa all seem to have been used in music. The Korniş sumkalari died out, as elsewhere in southern England, in the 16th century, but have recently been re-created.[149] From the mid-19th century akkordeonlar became progressively more popular as a folk instrument in the county, as in the rest of the West Country. There is long and varied history of Korniş raqsi from the medieval period, with records of strong traditions of morris raqsi, mumming, niqobli raqs va ijtimoiy raqs.[150] These seem to have been interrupted by the Islohot va Fuqarolar urushi and Commonwealth in the 16th and 17th centuries.[151] However, there was revival from the late 18th century and seasonal and community festivals, mumming and guising all flourished.[152] In the 19th century a strong tradition of nonconformity and temperance may also have affected dancing and music adversely and encouraged choral and brass band movements, while traditional tunes were used for carols. Some community events survived, such as the "Obby" Oss festivali yilda Padstov va Mo'ynali raqs yilda Xelston.[153] Folk songs include ‘Shirin bulbul ’, ‘Kichik ko'zlar "Va"Lamorna ’. 'Trelawny ' is often sung at sporting events and is seen by many as an unofficial anthem.[154] Few traditional Cornish lyrics survived the decline of the language, but in some cases lyrics of common English songs became attached to older Cornish tunes.[155] Some folk tunes have Cornish lyrics written since the language revival of the 1920s.[155] Modern Cornish musicians include the former Cornish folk singer Brenda Vutton and the Cornish-Breton family band Anao Atao.[155] Recently bands like Sacred Turf, Skwardya and Krena, have begun performing Britaniyalik folk-rok ichida Korniş tili.[156] The Cornwall Folk Festival has been held annually for more than three decades.[157]

The rest of the West Country

Seth Lakeman on stage in 2008

Outside Devon and Cornwall Celtic influence on music in the G'arbiy mamlakat is much less obvious, but folk music still retains many distinctive local characteristics. As in Cornwall there are very strong traditions of folk dance and mumming, the best known being the Xobbi oti bayramlar Minehead Somersetda.[158] The maritime heritage of Devon made sea shanties, hornpipes and naval or sea ballads important parts of regional folk music.[95] From the 19th century akkordeonlar have been a popular and accepted part of the local folk sound. Folk songs from the West Country include ‘Widdecombe Fair ’, ‘Ispaniyalik xonimlar ’ and ‘The Seeds of Love.’ The region was important in the first folk revival, as the Devon-born antikvar Sabine Baring-Gould invested effort in collecting regional music, published as Songs and Ballads of the West (1889–91), the first collection published for the mass market. He later collaborated with Cecil Sharp who, with Charles Marson, produced a three volume Folk-Songs from Somerset (1904–09).[159] Other collectors included Henry and Robert Hammond in Dorset, the Reverend Geoffrey Hill in Wiltshire, Percy Grainger in Gloucestershire and, perhaps the most famous, Ralph Vaughan Williams' 'Somersetdan xalq qo'shiqlari ', which provided themes for his Ingliz folk qo'shiqlari to'plami.[160] In the second folk revival the most famous West country musicians were melodeon-player Bob Cann and writer, performer and broadcaster Cyril Tawney, 'The Father of the West Country Folk Revival'.[161] In the 1970s there were figures such as Tony Rose.[162] The same period saw one of the most surprising hybrids in music history Skrumpy va g'arbiy kabi guruhlar bilan Wurzels va Yettinchi yillar, who took most of the elements of West Country folk music for comical folk-style songs with affectionate parodies of more mainstream musical genres, delivered in local G'arbiy mamlakat shevalari.[163] More seriously, the West Country and particularly Devon, have produced some of the most successful folk artists of recent years, including Namoyish qo'llar, Mark Bazeley and Jason Rice, Paul Downes, Jim Kusli, Set Lakeman va uning ukalari.[164] The region has numerous folk clubs and annual festivals, including those at Portsmouth and the first modern English folk festival to be established at Sidmut in Devon along with its associated 'Late Night Extra' venue at Bulverton .[165]

Yorkshir

Yorkshir has a rich heritage of folk music and folk dance including the Uzoq qilich raqsi.[166] Folk songs were collected there from the 19th century but, though it probably had more attention than other northern counties, its rich heritage of industrial folk song was relatively neglected.[167] It was not until the second revival in the 1950s that Nigel and Mary Hudleston began to attempt to redress the balance, collecting Yorkshire songs between 1958 and 1978.[168] Yorkshire folk song lacked the unique instrumental features of folk in areas like Northumbria and was chiefly distinguished by the use of dialect, particularly in the West Riding and exemplified by the song ‘Ilkla Mur Baxt 'at ’, probably written in the later 19th century and using a Kent folk tune (almost certainly borrowed via a Metodist madhiya ), but often seen as an unofficial Yorkshire anthem.[169] Most Yorkshire folk songs were not unique and tended to be adapted to fit local geography and dialect, as was the case with probably the most commercially successful Yorkshire song, ‘Skarboro yarmarkasi ’, recorded by Simon va Garfunkel, which was a version of the Scottish ballad ‘Elfin ritsari ’.[170] The most famous folk performers from the county are Watersons dan Hull, who began recording Yorkshire versions of folk songs from 1965.[171] Other Yorkshire folk musicians include Heather Wood (born 1945) of the Young Tradition, the short-lived folk rock group Janob Fox (1970–2), The Deighton Family, Julie Matthews, Ketrin Roberts, va Merkuriy mukofoti nomzod Keyt Rusbi.[171] Even considering its position as the largest county in England, Yorkshire has a flourishing folk music culture, with over forty folklor klublari and thirty annual folk music festivals.[172] In 2007, the Yorkshire Garland Group was formed to make Yorkshire folk songs accessible online and in schools.[173]

Izohlar

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