Folk music

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Folk music

Béla Bartók
recording Slovak peasant singers in 1908

Traditions

List of
folk music traditions

Musicians

List of
folk musicians.

Instruments

Folk
instruments

Folk music is a term for musical folklore. The term, which
originated in the 19th century, has been defined in several ways: as music
transmitted by mouth, as music of the lower classes, and as music with unknown
composers. It has been contrasted with commercial and classical styles. Since
the middle of the 20th century, the term has also been used to describe a kind
of popular music that
is based on traditional music.[1]
Fusion genres include folk
rock, electric
folk, folk metal, progressive folk, psychedelic folk and neofolk.

Contents

1 Origins and
definitions

2 Africa

3 Asia

4 Europe and North
America

4.1 Celtic traditional
music

4.2 Eastern
Europe

4.3 Balkan
music

4.4 Nordic folk
music

4.5 Notable
venues

5 Latin
America

6 European folk
revival

7 Folk revival of the 1950s
in Britain and America

8 Popular
subgenres

9 Media

10 See also

11 References

11.1 Notes

11.2 Further
reading

12 External
links

Origins and
definitions

Throughout most of human prehistory and history, listening to recorded music
was not possible, and the work of economic production was often manual and
communal. Music was made by common people during both their work and leisure. Manual labour often
included singing by the workers, which served several practical purposes. It
reduced the boredom of repetitive tasks, it kept the rhythm during synchronized
pushes and pulls, and it set the pace of many activities such as planting,
weeding, reaping, threshing, weaving, and milling. In leisure time, singing and
playing musical instruments were common forms of entertainment and
history-telling—even more common than today, when electrically enabled
technologies and widespread literacy make other forms of entertainment and
information-sharing competitive.[2]

The terms folk music, folk song, and folk dance are
comparatively recent expressions. They are extensions of the term folk lore, which was
coined in 1846 by the English antiquarian William Thoms to describe
"the traditions, customs, and superstitions of the uncultured classes."[3]
The term is further derived from the German expression Volk, in
the sense of "the people as a whole" as applied to popular and national music by
Johann Gottfried
Herder and the German Romantics over half a century earlier.[4]

Indians always distinguished between classical
and folk music, although in the past even classical Indian music used to rely on
the unwritten transmission of repertoire.

A literary interest in the popular ballad was not new: it dates back to Thomas
Percy and William
Wordsworth. English Elizabethan and Stuart composers had often evolved their
music from folk themes, the classical suite was based upon
stylised folk-dances and Joseph Haydn's use of folk
melodies is noted. But the emergence of the term "folk" coincided with an
"outburst of national feeling all over Europe" that was particularly strong at
the edges of Europe, where national identity was
most asserted. Nationalist
composers emerged in Eastern Europe, Russia, Scandinavia, Spain and Britain:
the music of Dvorak, Smetana, Grieg,
Rimsky-Korsakov, Brahms, Liszt,
de Falla, Wagner, Sibelius, Vaughan Williams,
Bartók and many
others drew upon folk melodies. The English term "folklore", to describe
traditional music and dance, entered the vocabulary of many continental European
nations, each of which had its folk-song collectors and revivalists.[3]

However, despite the assembly of an enormous body of work over some two
centuries, there is still no certain definition of what folk music (or folklore,
or the folk) is.[5]
Folk music may tend to have certain characteristics[3]
but it cannot clearly be differentiated in purely musical terms. One meaning
often given is that of "old songs, with no known composers",[6]
another is that of music that has been submitted to an evolutionary "process of
oral transmission....
the fashioning and re-fashioning of the music by the community that give it its
folk character."[7]
Such definitions depend upon "(cultural) processes rather than abstract musical
types...", upon "continuity and oral transmission...seen as
characterizing one side of a cultural dichotomy, the other side of which is
found not only in the lower layers of feudal, capitalist and some oriental
societies but also in 'primitive' societies and in parts of 'popular
cultures'."[8]

Locations in Southern and Central Appalachia
visited by the British folklorist Cecil Sharp in 1916 (blue), 1917 (green), and
1918 (red). Sharp sought "old world" English and Scottish ballads passed down to
the region's inhabitants from their British ancestors. He collected hundreds of
such ballads, the most productive areas being the Blue Ridge Mountains of North
Carolina and the Cumberland Mountains of Kentucky.

For Scholes,[3]
as for Cecil Sharp and Béla Bartók,[9]
there was a sense of the music of the country as distinct from that of the town.
Folk music was already "seen as the authentic expression of a way of life now
past or about to disappear (or in some cases, to be preserved or somehow
revived),"[10]
particularly in "a community uninfluenced by art music"[7]
and by commercial and printed song. Lloyd rejected this in favour of a simple
distinction of economic class[9]
yet for him too folk music was, in Charles Seeger's words,
"associated with a lower class in societies which are culturally and socially
stratified, that is, which have developed an elite, and possibly also a popular,
musical culture." In these terms folk music may be seen as part of a "schema
comprising four musical types: 'primitive' or 'tribal'; 'elite' or 'art';
'folk'; and 'popular'."[11]

Revivalists' opinions differed over the origins of folk music: it was said by
some to be art music changed and probably debased by oral transmission, by
others to reflect the character of the race that produced it.[3]
Traditionally, the cultural transmission of folk music is through playing by ear, although
notation may also be used.
The competition of individual and collective theories of composition set
different demarcations and relations of folk music with the music of tribal
societies on the one hand and of "art" and "court" music on the other. The
traditional cultures that did not rely upon written music or had less social
stratification could not be readily categorised. In the proliferation of popular
music genres, some music became categorised as "World music" and "Roots
music".

The American conception of "folk composition"
has often drawn on Afro-American
music

The distinction between "authentic" folk and national and popular song in
general has always been loose, particularly in America and Germany[3]
- for example popular songwriters such as Stephen Foster could be
termed "folk" in America.[12]
The International
Folk Music Council definition allows that the term "can also be applied to
music which has originated with an individual composer and has subsequently been
absorbed into the unwritten, living tradition of a community. But the term does
not cover a song, dance, or tune that has been taken over ready-made and remains
unchanged."[13]

The post-World War II folk revival in America and in Britain brought a new
meaning to the word. Folk was seen as a musical style, the ethical antithesis of
commercial "popular" or "pop" music, while the Victorian appeal of the "Volk"
was often regarded with suspicion. The popularity of "contemporary folk"
recordings caused the appearance of the category "Folk" in the Grammy
Awards of 1959: in 1970 the term was dropped in favour of "Best Ethnic or
Traditional Recording (including Traditional Blues)", while 1987 brought a
distinction between "Best Traditional Folk Recording" and "Best Contemporary
Folk Recording". The term "folk", by the start of the 21st century, could cover
"singer song-writers,
such as Donovan and Bob Dylan, who emerged in the
1960s and much more"[6]
or perhaps even "a rejection of rigid boundaries, preferring a conception,
simply of varying practice within one field, that of 'music'."[11]

Africa

Main article: Music of Africa

Asia

See also: Indian folk music, Iranian folk
music, and Filipino folk
music

Paban Das Baul, baul singer at Nine Lives concert,
2009.

Many Asian civilisations distinguish between art/court/classical styles and
"folk" music, though cultures that do not depend greatly upon notation and have
much anonymous art music must distinguish the two in different ways from those
suggested by western scholars. For example the late Alam Lohar is a good example
of a classical South Asian folk singer of great repute.[citation
needed]

Europe and North
America

See also: Turkish folk music,
Greek folk music, French folk music, English folk music,
Swedish folk
music, Italian
folk music, Icelandic folk
music, French-Canadian
music, Sami music, Nordic folk music, Romani music, and American folk
music

Celtic traditional
music

See also: Folk music of
Ireland

Celtic music is a
term used by artists, record companies, music stores and music magazines to
describe a broad grouping of musical genres that
evolved out of the folk musical traditions of the Celtic
peoples of Western
Europe. These traditions include Irish, Scottish, Manx, Cornish, Welsh, Breton traditions. Galician music is often
included, though significant research showing that this has any close musical
relationship is lacking. Brittany's Folk
revival began in the 1950s with the "bagadoù" and the "kan-ha-diskan" before
growing to world fame through Alan Stivell's work since
the mid-1960s.[14]

In Ireland, The
Clancy Brothers and Tommy Makem (although its members were all Irish-born,
the group became famous while based in New York's Greenwich Village), The Dubliners, Clannad, Planxty, The Chieftains, The Pogues, The Irish Rovers, and a
variety of other folk bands have done much over the past few decades to
revitalise and re-popularise Irish traditional
music. These bands were rooted, to a greater or lesser extent, in a living
tradition of Irish music and benefited from the efforts of artists such as Seamus Ennis and Peter Kennedy.[14]

Eastern Europe

See also: Music of Eastern
Europe

During the Communist era national folk dancing was actively promoted by the
state. Dance troupes from Russia and Poland toured Western Europe from about
1937 to 1990. The Red Army Choir recorded
many albums. A female
choir from Bulgarian State Radio recorded "Le Mystere des Voix Bulgares"
which was promoted by British DJ John Peel.[citation
needed]

The Hungarian group Muzsikás played numerous
American tours and participated in the Hollywood movie The English
Patient while the singer Márta
Sebestyén worked with the band Deep Forest. The Hungarian
táncház
movement, started in the 1970s, involves strong cooperation between musicology
experts and enthusiastic amateurs.[citation
needed] However, the traditional Hungarian folk music and folk
culture barely survived in some rural areas, and it has also begun to disappear
in Romania.

The movement revived broader folk traditions of music, dance, and costume
together and created a new kind of music club. The movement spread to ethnic
Hungarian communities around the world. Today, almost every major city in the
U.S. and Australia has its own Hungarian folk music and folk dance group; there
are also groups in Japan, Hong Kong, Argentina and Western Europe.[citation
needed]

Balkan music

See also: Balkan
music

Tanec, Republic of
Macedonia

The Balkan folk music was influenced by the mingling of Balkan ethnic groups
in the period of Ottoman
Empire. It comprises the music of Bosnia and
Herzegovina, Croatia, Bulgaria, Greece, Montenegro, Serbia, Romania, Slovenia, Republic
of Macedonia, Albania, Turkey, the historical
states of Yugoslavia or the State Union
of Serbia and Montenegro and geographical regions such as Thrace. Some music is
characterised by complex rhythm. An important part of the whole Balkan folk
music is the music of the local Romani ethnic minority.

Nordic folk music

See also: Nordic folk music, Traditional
Nordic dance music, Swedish folk music,
Icelandic folk
music, Sami music, Yoik,
Nyckelharpa, and Kantele

Notable venues

It is sometimes claimed that the earliest folk festival was the Mountain
Dance and Folk Festival, 1928, in Asheville, North Carolina, founded by Bascom Lamar
Lunsford. Sidmouth Festival began in 1954, and Cambridge Folk Festival began
in 1965. The Cambridge Folk
Festival in Cambridge,
England is noted for having a
very wide definition of who can be invited as folk musicians. The "club tents"
allow attendees to discover large numbers of unknown artists, who, for ten or 15
minutes each, present their work to the festival audience.

Folk music is still popular among some audiences today, with folk music clubs
meeting to share traditional-style songs, and there are major folk music
festivals in many countries, e.g. the Woodford Folk
Festival, National Folk
Festival and Port Fairy Folk
Festival are amongst Australia's largest major annual events, attracting top
international folk performers as well as many local artists. This includes the
music of Americana, Naturalismo, Bonnie
"Prince" Billy, Devendra Banhart and
others.

Anti-folk now has a home
at the Antihootenany in the East Village, where artists
like Beck, Regina Spektor, the Moldy Peaches and
Nellie McKay got their
starts.

Latin America

See also: Andean music, Cueca, and Nueva canción

European folk
revival

The first folk revival influenced western classical music. Such
composers as Percy
Grainger, Ralph Vaughan
Williams and Béla Bartók, made
field recordings or transcriptions of folk singers and musicians.

In Spain Isaac Albéniz (1860–1909) produced piano works reflect his Spanish
heritage, including the Suite Iberia (1906–1909). Enrique Granados
(1867–1918) composed zarzuela, Spanish light opera, and Danzas
Españolas - Spanish Dances. Manuel de Falla (1876–1946) became interested in
the cante jondo of
Andalusian flamenco, the
influence of which can be strongly felt in many of his works, which include Nights in the
Gardens of Spain and Siete canciones populares españolas ("Seven
Spanish Folksongs", for voice and piano). Composers such as Fernando Sor and Francisco Tarrega
established the guitar as
Spain's national instrument. Modern Spanish Folk artists abound (Mil i Maria,
Russian Red et al.) modernizing whilst respecting the traditions of their
forebears.

Flamenco grew in popularity through the 20th century, as did northern styles
such as the Celtic music of Galicia. French
classical composers, from Bizet to Ravel, also drew upon
Spanish themes, and distinctive Spanish genres became universally
recognised.

Folk revival of the 1950s in Britain and America

Woody Guthrie

See also: American folk
music revival, British folk
revival, and Roots
revival

While the Romantic nationalism of the folk revival had its greatest influence
on art-music, the "second folk revival" of the later 20th century brought a new
genre of popular music
with artists marketed by amplified concerts, recordings and broadcasting. The
American Woody Guthrie
collected folk music in the 1930s and 1940s and also composed his own songs, as
did Pete Seeger. In the
1930s Jimmie
Rodgers, in the 1940s Burl
Ives and in the 1950s Seeger's group The Weavers, Harry Belafonte, The Kingston Trio, and
The Limeliters found a
popularity that culminated in the Hootenanny
television series[15]
and the associated magazine ABC-TV Hootenanny in
1963–1964. Sing Out!
magazine helped spread both traditional and composed songs, as did
folk-revival-oriented record companies.

In the United
Kingdom, the folk revival fostered young artists like The Watersons, Martin Carthy and Roy Bailey and
a generation of singer-songwriters such as Bert Jansch, Ralph McTell, Donovan and Roy Harper. Bob Dylan, Paul Simon and Tom Paxton
visited Britain for some time in the early 1960s, the first two, particularly,
making later use of the traditional English material they heard.

In 1950 Alan Lomax came
to Britain and met A.L.'Bert' Lloyd and Ewan MacColl, a meeting
credited as inaugurating the second British folk revival. In London the
colleagues opened The Ballads and Blues Club, eventually renamed the Singers'
Club, possibly the first folk
club: it closed in 1991. As the 1950s progressed into the 1960s, the folk
revival movement built up in both Britain and America.

In the 1960s, folk singers and songwriters such as Joan Baez, Bob Dylan, Phil Ochs, and Tom Paxton followed in Guthrie's footsteps,
writing "protest music" and topical
songs and expressing support for the American
Civil Rights Movement. The Canadians Gordon Lightfoot, Leonard Cohen, Bruce Cockburn and Joni Mitchell were all
invested with the Order
of Canada. Dylan's use of electric instruments helped inaugurate the genres
of folk rock and country rock, particularly
by his album John
Wesley Harding and his support for the music of The Band. Many of the acid rock bands of San
Francisco began by playing acoustic folk and blues.

The late 1960s saw the advent of electric folk groups, a
key moment being the release of Fairport
Convention's album Liege and Lief.
Guitarist Richard
Thompson declared that the music of The Band demanded a corresponding
"English Electric" style, while bassist Ashley Hutchings formed
Steeleye Span in order
to pursue a wholly traditional repertoire. In the second half of the 1990s, once
more, folk music made an impact on the mainstream music via a younger generation
of artists such as Eliza
Carthy, Kate Rusby and
Spiers and
Boden.

Popular subgenres

Contemporary country
music descends ultimately from a rural American folk tradition, but has
evolved. Bluegrass
music is a professional development of American old
time music, intermixed with blues and jazz. Exponents of electric folk music such
as Fairport
Convention, Pentangle, Alan Stivell, Mr. Fox and Steeleye Span saw
electrification of traditional musical forms as a means to reach a far wider
audience. Traditional folk music merged with rock and roll to form folk rock performers such as
The Byrds, Simon &
Garfunkel and The Mamas & the
Papas. Since the 1970s a genre of "contemporary folk" fueled by new
singer-songwriters has continued with such artists as Chris Castle, Steve Goodman, and John Prine. The Pogues and Ireland's The Corrs brought traditional
tunes back into the album
charts.

In the 1980s artists like Phranc and The Knitters propagated cowpunk or folk punk, which eventually
evolved into alt country. More recently
the same spirit has been embraced and expanded on by artists such as Dave Alvin, Miranda Stone and Steve Earle.

Hard rock and heavy metal bands such
as Korpiklaani, Skyclad, Waylander and Finntroll meld elements from a
wide variety of traditions, including in many cases instruments such as fiddles,
tin
whistles, accordions and bagpipes. Folk metal often favours pagan-inspired
themes. Black metal and
Viking metal are defined
on their folk stance, incorporating folk interludes into albums (e.g., Bergtatt and Kveldssanger, the first two
albums by once-black metal, now-experimental band Ulver).

Filk music can be
considered folk music stylistically and culturally (though the 'community' it
arose from, science fiction
fandom, is an unusual and thoroughly modern one).[16]
Neofolk began in the 1980s,
fusing traditional European folk music with post-industrial
music, historical topics, philosophical commentary, traditional songs and paganism. The genre is largely
European.

Anti folk, began in New York
City in the 1980s. Folk
punk, known in its early days as rogue folk, is a fusion of folk music and
punk rock. It was pioneered by the London-based Irish band The Pogues in the 1980s. Radical folk of the present
claims to tackle age old political issues such as workers rights and capital punishment.
It is represented by groups such as such as The
Last Internationale of New York.

Other subgenres include:

Indie folk

Techno-folk

Industrial
folk music

Freak folk

Media

Barbara
Allen

Barbara
Allen is a traditional folk
ballad.

Problems listening to the files? See media
help.

See also

Music
portal

Ethnomusicology

Roud Folk Song
Index

World music

References

Notes

^
http://folkmusic.about.com/od/glossary/g/FolkMusic.htm
About.com definition

^
http://www.youtube.com/watch?v=Hr9FP93o8Ro Alan Lomax's 1947
Documentary narrated by Pete Seeger

^ a
b
c
d
e
f
Percy Scholes, The Oxford Companion to Music, OUP 1977, article "Folk
Song".

^ A.L.Lloyd,
Folk Song in England, Panther Arts, 1969, page 13.

^ Richard
Middleton, Studying Popular Music, Philadelphia: Open University Press
(1990/2002). ISBN
0-335-15275-9, p. 127.

^ a
b
Ronald D. Cohen Folk music: the basics (CRC Press, 2006), pp. 1-2

^ a
b
International Folk Music Council definition (1954/5), given in Lloyd (1969)
and Scholes (1977).

^ Charles Seeger (1980),
citing the approach of Redfield (1947) and Dundes (1965), quoted in Middleton
(1990) p.127

^ a
b
A.L.Lloyd, Folk Song in England, Panther Arts, 1969, page 14-5.

^ Middleton
1990, p.127.

^ a
b
Charles Seeger (1980) quoted in Middleton (1990) p.127

^ Example
given by both Scholes (1977) and Lloyd (1969)

^ Quoted by
both Scholes (1977) and Lloyd (1969)

^ a
b
Sawyers, June Skinner (2000). Celtic Music: A
Complete Guide. Da Capo Press. ISBN 0-306-81007-7.

^ http://www.tvtome.com/Hootenanny/ TVtome.com Retrieved
on 05-03-07

^ Hall of Fame acceptance speeches by Sally and Barry
Childs-Helton

Further reading

Farsani, Mohsen (2003) Lamentations chez les nomades bakhtiari
d'Iran. Paris: Université Sorbonne Nouvelle.

Bayard, Samuel Preston (1950). "Prolegomena to a Study of the Principal
Melodic Families of British-American Folksong", Journal of American
Folklore pp. 1–44. Reprinted in McAllester, David Park (ed.) (1971)
Readings in ethnomusicology New York: Johnson Reprint. OCLC 2780256

Bearman, C. J. (2000). "Who Were the Folk? The Demography of Cecil Sharp's
Somerset Folk Singers." The Historical Journal (September 2000) Vol. 43
No.3 pp. 751–75. JSTOR 3020977

Bevil, Jack Marshall (1984). Centonization and Concordance in the
American Southern Uplands Folksong Melody: A Study of the Musical Generative
and Transmittive Processes of an Oral Tradition. PhD Thesis, North Texas
University, Ann Arbor: University Microfilms International. OCLC 12903203

Bevil, Jack Marshall (1986). "Scale in Southern Appalachian Folksong: a Reexamination",
College Music Symposium Vol. 26, 77-91.[verification
needed]

Bevil, Jack Marshall (1987). "A Paradigm of Folktune Preservation and
Change Within the Oral Tradition of a Southern Appalachian Community,
1916-1986." Unpublished. Read at the 1987 National Convention of the American
Musicological Society, New Orleans.

Carson, Ciaran (1997). Last Night's Fun: In and Out of Time with Irish
Music. North Point Press. ISBN
9780865475151

Cartwright, Garth (2005). Princes Amongst Men: Journeys with Gypsy
Musicians. London: Serpent's Tail. ISBN
1852428775

Cowdery, James R. (1990). The Melodic Tradition of Ireland. Kent,
OH: Kent State University Press. ISBN
9780873384070

Harker, David (1985). Fakesong: The Manufacture of British 'Folksong',
1700 to the Present Day. Milton Keynes [Buckinghamshire]; Philadelphia:
Open University Press. ISBN
0335150667

Hogeland, William (2004). "Emulating the Real and Vital Guthrie, Not St. Woody". New
York Times (March 14).

Jackson, George Pullen (1933). White Spirituals in the Southern
Uplands: The Story of the Fasola Folk, Their Songs, Singings, and "Buckwheat
Notes". Chapel Hill: University of North Carolina Press. LCCN 33-003792 OCLC 885331 Reprinted by Kessinger Publishing (2008) ISBN
9781436690447

Keller, Marcello Sorce (1984). "The Problem of Classification in Folksong
Research: A Short History", Folklore Vol. 95, no. 1:100–104. JSTOR 1259763

Matthews, Scott (2008). "John Cohen in Eastern Kentucky: Documentary Expression and the
Image of Roscoe Halcomb During the Folk Revival". Southern
Spaces. http://southernspaces.org/2008/john-cohen-eastern-kentucky-documentary-expression-and-image-roscoe-halcomb-during-folk-revival.  (August 6)[page needed]

Middleton, Richard (1990). Studying Popular Music. Milton Keynes;
Philadelphia: Open University Press. ISBN
0-335-15276-7 (cloth), ISBN
0-335-15275-9 (pbk).

Mills, Isabelle (1974). The Heart of
the Folk Song, Canadian
Journal for Traditional Music Vol. 2

Pegg, Carole (2001). "Folk Music". The New Grove Dictionary of Music
and Musicians, edited by Stanley Sadie and John Tyrrell. London:
Macmillan.

Scully, Michael F. (2008). The Never-Ending Revival: Rounder Records and the Folk
Alliance. Urbana: University of Illinois Press.

Warren-Findley, Jannelle (1980). "Journal of a Field Representative :
Charles Seeger and Margaret Valiant" Ethnomusicology, Vol. 24, No. 2
(May, 1980), pp. 169–210 JSTOR 851111

van der Merwe, Peter (1989). Origins of the Popular Style: The
Antecedents of Twentieth-Century Popular Music. Oxford: Clarendon Press.
ISBN
0-19-316121-4.

External links

The channel TV of traditional music

The
World and Traditional Music section at the British Library Sound
Archive

The
Traditional Music in England project, World and Traditional Music section at
the British Library Sound Archive

The
Mudcat Cafe and Digital Tradition song database

An article on folk music from the Encyclopedia of Music in
Canada

Welsh Folk-Song Society

Encyclopedia of Oklahoma History and Culture - Folk
Music

Folk
Music-A Blog features folk songs & folk artists around the world.

The Crooked Road: Heritage music trail-A famous 243-mile
experience where folk and bluegrass music originated.

Folk Alley A Non-Profit Listener Supported Folk Music
Resource, Streaming online since 2004

Traditional songs - Folk song lyrics of the world

v ·
d ·
eFolk music

Subgenres

Ballads · Carols · Children's
songs · Drinking
song · Hornpipe · Jigs · Morris
dance · Protest
song · Sea
shanties · War
songs

Fusions

Anti-folk · Celtic
music · Celtic
rock · Country
folk · Electric
folk · Filk
music · Folk
metal · Folk
punk · Folk
rock · Folktronica · Indie
folk · Industrial
folk song · Manila
Sound · Medieval folk
rock · Neofolk · Nu-folk · Psych
folk · Progressive
folk · Skiffle · Techno-folk · Un-folk

Related articles

Festivals · Folk
clubs · Folk
dance · Instruments · Lists
of traditions · Pub
session · Record
labels · Roots
revival · Singer-songwriter · Traditional
music · World
music

Regional scenes

American · Assyrian/Syriac · Balkan · Cuban · English · Filipino · French · German · Greek · Hungarian · Icelandic · Indian · Iranian · Irish · Italian · Jamaican · Macedonian · Pakistani · Portuguese · Scottish · Swedish · Turkish · Ukrainian · Russian

v ·
d ·
eAmerican
roots music

African
American music · Appalachian/old-time ·
Blues (Ragtime) ·
Cajun
music · Country (Honky tonk, Country and
Western, Bluegrass,
Western
swing, Rockabilly)
· Folk
music revival (1950s-60s) · Jazz (Dixieland) ·
Native
American · Negro
spirituals and Gospel ·
Swamp
pop · Tejano ·
Zydeco

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