Contemporary folk music

Contemporary folk music refers to a wide variety of genres that emerged in the mid 20th century and afterwards which were associated with traditional folk music. Starting in the mid-20th century a new form of popular folk music evolved from traditional folk music. This process and period is called the (second) folk revival and reached a zenith in the 1960s. The most common name for this new form of music is also "folk music", but is often called "contemporary folk music" or "folk revival music" to make the distinction.[1] The transition was somewhat centered in the US and is also called the American folk music revival[2]. Fusion genres such as folk rock and others also evolved within this phenomenon. While contemporary folk music is a genre generally distinct from traditional folk music, it often shares the same English name, performers and venues as traditional folk music; even individual songs may be a blend of the two.

While the Romantic nationalism of the first 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 through concerts, recordings and broadcasting. One of the earliest figures in this revival was Woody Guthrie, who sang traditional songs in the 1930s and 1940s as well as composing his own. In the United Kingdom, the folk revival fostered a generation of singer-songwriters such as Donovan, who achieved initial prominence in the 1960s. The folk revival spawned Canada's first folk wave of internationally successful artists such as Gordon Lightfoot, Leonard Cohen, Joni Mitchell, and Buffy Sainte-Marie.

Major performers who emerged from the 1940s to the early 1960s included Woody Guthrie, Pete Seeger, Joan Baez, and Bob Dylan. The mid-1960s through the early 1970s was associated with large musical, political, lifestyle, and counterculture changes. Folk music underwent a related rapid evolution, expansion and diversification at that same time. Major changes occurred through the evolution of established performers such as Bob Dylan, Joan Baez, Judy Collins, and Peter Paul and Mary, and also through the creation of new fusion genres with rock and pop. During this period, the term "protest music" was often used to characterize folk music with topical political themes. The Canadian performers Gordon Lightfoot, Leonard Cohen, Bruce Cockburn and Joni Mitchell represented such fusions and enjoyed great popularity in the U.S. Starting in the 1970s folk music was fueled by new singer-songwriters such as Joni Mitchell, Neil Young, and Harry Chapin.

Other subgenres of folk include anti folk, folk punk (e.g., the Irish band the Pogues in the 1980s), indie folk, folktronica, freak folk and Americana and fusion genres such as folk metal, progressive folk, psychedelic folk, and neofolk.


Definitions of "contemporary folk music" are generally vague and variable.[3] Here, it is taken to mean all music that is called folk that is not traditional music, a set of genres that began with and then evolved from the folk revival of the mid-20th century. According to Hugh Blumenfeld, for the American folk scene:[4]

This is the common use of the term "contemporary folk music", but is not the only case of evolution of new forms from traditional ones.

Contemporary country music descends ultimately from a rural American folk tradition, but has evolved differently. Bluegrass music is a professional development of American old time music, intermixed with blues and gypsy swing jazz.

Folk revival of the mid-20th century in the English-speaking countries

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 through concerts, recordings and broadcasting. This is the genre that remains as "contemporary folk music" even when traditional music is considered to be a separate genre. One of the earliest figures in this revival was Woody Guthrie, who sang traditional songs in the 1930s and 1940s as well as composing his own. Among Guthrie's friends and followers as a collector, performer, and composer was Pete Seeger.

In the 1930s, Jimmie Rodgers, in the 1940s Burl Ives, in the early 1950s Seeger's group the Weavers and Harry Belafonte, and in the late 1950s the Kingston Trio as well as other professional, commercial groups became popular. Some who defined commercialization as the beginning of this phase consider the commercial hit Tom Dooley by the Kingston Trio in 1958 as marking the beginning of this era.[3] In 1963–1964, the ABC television network aired the Hootenanny television series devoted to this brand of folk music and also published the associated magazine ABC-TV Hootenanny. Starting in 1950, the Sing Out!, Broadside, and The Little Sandy Review magazines 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; all seven achieved initial prominence in the 1960s. Bob Dylan, Paul Simon and Tom Paxton visited Britain for some time in the early 1960s, the first two especially making later use of the traditional English material they heard.

In 1950, prominent American folklorist and collector of traditional songs 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 in the UK; it closed in 1991. As the 1950s progressed into the 1960s, the folk revival movement gathered momentum in both Britain and America.

In much of rural Canada, traditional and country-folk music were the predominant styles of music until the 1950s, ahead even of the globally popular jazz and swing. Traditional folk took this predominance into early Canadian television with many country-themed shows on its early airwaves. All Around the Circle (1964–1975) showcased the traditional Irish- and English-derived music of Newfoundland, for example. But by far the most important of these was Don Messer's Jubilee (1957–1973), which helped to bridge the gap between rural country-folk and the folk revival that was emerging from urban coffee shops and folk clubs. The show helped to launch the careers of country-folk singers Stompin' Tom Connors and Catherine McKinnon.

The folk revival spawned Canada's first folk wave of internationally successful artists such as Gordon Lightfoot, Leonard Cohen, Ian & Sylvia, Neil Young, Joni Mitchell, and Buffy Sainte-Marie[5]. At the same time, Quebec folk singer-songwriters like Gilles Vigneault and groups such as La Bottine Souriante were doing the same in the French-speaking world. English-speaking Canadian folk artists tended to move the United States to pursue larger audiences until the introduction of so-called "Canadian content" rules for radio and television in the 1970s. At the same time, Canadian folk music became more formalized and commercialized with the rise of specialized folk festivals (beginning with the Miramichi Folksong Festival in 1958), increased radio airplay on rock, pop, and easy listening radio stations, the introduction of the Juno Award for Folk Artist of the Year in 1971, and even an academic journal the Canadian Folk Music Journal in 1973. The mid- and late 1960s saw fusion forms of folk (such as folk rock) achieve prominence never before seen by folk music, but the early 1960s were perhaps the zenith of non-fusion folk music prominence in the music scene.

During the Depression, folk music reflected social realities of poverty and disempowerment of common people through vernacularized lyrics expressing the harsh realities of hard times and poverty. Often newly composed songs in traditional style by writers like Guthrie also featured a humorous and satirical tone. Most of the audience for folk music in those years were part of the working class, and many of these songs expressed resistance to the social order and an anger towards the government.[6]

Major folk music performers who emerged during the 1940s, 1950s and early 1960s

These include the following:

  • Woody Guthrie (1912 –1967) was an American singer-songwriter and folk musician, whose musical legacy includes hundreds of political, traditional and children's songs, ballads and improvised works.[7] He frequently performed with the slogan This Machine Kills Fascists displayed on his guitar. His best-known song is "This Land Is Your Land". Many of his recorded songs are archived in the Library of Congress.[8] In the 1930s Guthrie traveled with migrant workers from Oklahoma to California while learning, rewriting, and performing traditional folk and blues songs along the way. Many the songs he composed were about his experiences in the Dust Bowl era during the Great Depression, earning him the nickname the "Dust Bowl Balladeer".[9] Throughout his life, Guthrie was associated with United States communist groups, though he was never formally joined the Party.[10] Guthrie fathered American folk musician Arlo Guthrie. During his later years Guthrie served as a figurehead in the folk movement, providing inspiration to a generation of new folk musicians, including mentor relationships with Ramblin' Jack Elliott and Bob Dylan. Such songwriters as Bob Dylan, Phil Ochs, Bruce Springsteen, Pete Seeger, Joe Strummer and Tom Paxton have acknowledged their debt to Guthrie as an influence.
  • The Almanac Singers Almanac members Millard Lampell, Lee Hays, Pete Seeger, and Woody Guthrie began playing together informally in 1940; the Almanac Singers were formed in December 1940.[10] They invented a driving, energetic performing style, based on what they felt was the best of American country string band music, black and white. They evolved towards controversial topical music. Two of the regular members of the group, Pete Seeger and Lee Hays, later became founding members of The Weavers.
  • Burl Ives – as a youth, Ives dropped out of college to travel around as an itinerant singer during the early 1930s, earning his way by doing odd jobs and playing his banjo and guitar. In 1930, he had a brief, local radio career on WBOW radio in Terre Haute, Indiana, and in the 1940s he had his own radio show, titled The Wayfaring Stranger, titled after one of the popular ballads he sang. The show was very popular, and in 1946 Ives was cast as a singing cowboy in the film Smoky. Ives went on to play parts in other popular film as well. His first book, The Wayfaring Stranger, was published in 1948.[11]
  • Pete Seeger had met and been influenced by many important folk musicians (and singer-songwriters with folk roots), especially Woody Guthrie and Lead Belly.[7] Seeger had labor movement involvements, and he met Guthrie at a "Grapes of Wrath" migrant workers’ concert on March 3, 1940, and the two thereafter began a musical collaboration (which included the Almanac Singers) and then formed the Weavers. As a songwriter, Seeger authored or co-authored "Where Have All the Flowers Gone?", "If I Had a Hammer (The Hammer Song)", (composed with Lee Hays of the Weavers), and "Turn, Turn, Turn!", all three of which have been recorded by many artists both in and outside the folk revival movement and are still sung throughout the world. In 1948, Seeger wrote the first version of his now-classic How to Play the Five-String Banjo, an instructional book that many banjo players credit with starting them off on the instrument. He has recorded, sung, and performed for more than seventy years and has become the most powerful force in the American folk revival after Guthrie.[12]
  • Robert Schmertz (1898-1975), was a composer of historical-themed folk music. His compositions were recorded by a variety of artists - Schmertz's music has been covered by Pete Seeger, who called Schmertz a "very good songwriter",[13] Burl Ives, Tennessee Ernie Ford,[13] Bill and Gloria Gaither, The Statler Brothers, The Cathedrals, Dailey & Vincent, the River City Brass Band, and Ernie Haase & Signature Sound.[14]
  • The Weavers were formed in 1947 by Pete Seeger, Ronnie Gilbert, Lee Hays, and Fred Hellerman. After they debuted at the Village Vanguard in New York in 1948, they were then discovered by arranger Gordon Jenkins and signed with Decca Records, releasing a series of successful but heavily orchestrated single songs.[15] The group's political associations in the era of the Red Scare forced them to break up in 1952; they re-formed in 1955 with a series of successful concerts and album recordings on Vanguard Records. A fifth member, Erik Darling, sometimes sat in with the group when Seeger was unavailable and ultimately replaced Seeger in the Weavers when the latter resigned from the quartet in a dispute about its commercialism in general and its specific agreement to record a cigarette commercial.[16]
  • Harry Belafonte, [7] pop singer, activist. In 1952, he signed a contract with RCA Victor. His breakthrough album Calypso (1956) was the first LP to sell over a million copies. The album spent 31 weeks at number one on the US charts. It introduced American audiences to pop Calypso music and Belafonte was dubbed the "King of Calypso." Belafonte went on to record in many genres, including pop Calypso, American folk, gospel, and more.
  • Odetta – In 1959, Belafonte starred in Tonight With Belafonte a nationally televised special that introduced Odetta in her debut to a prime time audience. She sang Water Boy and performed a duet with Belafonte of There's a Hole in My Bucket that hit the national charts in 1961.[17]In 1953 singers Odetta and Larry Mohr recorded an LP that was released in 1954 as Odetta and Larry, an album that was partially recorded live at San Francisco's Tin Angel bar. Odetta enjoyed a long and respected career with a repertoire of traditional songs and blues until her death in 2009.[17]
  • The Kingston Trio was formed in 1957 in the Palo Alto, California area by Bob Shane, Nick Reynolds, and Dave Guard, who were just out of college. They were greatly influenced by the Weavers, the calypso sounds of Belafonte, and other semi-pop folk artists such as the Gateway Singers[7] and the Tarriers. The unprecedented popularity and album sales of this group from 1957 to 1963 (including fourteen top ten and five number one LPs on the Billboard charts[18]) was a significant factor in creating a commercial and mainstream audience for folk-styled music where little had existed prior to their emergence.[19] The Kingston Trio's success was followed by other highly successful pop-folk acts, such as the Limeliters.
  • The Limeliters are an American folk music group, formed in July 1959 by Lou Gottlieb (bass), Alex Hassilev (baritone), and Glenn Yarbrough (tenor).[20] The group was active from 1959 until 1965, when they disbanded.  After a hiatus of sixteen years Yarbrough, Hassilev, and Gottlieb reunited and began performing as the Limeliters again.
  • Joan Baez’s career began in 1958 in Cambridge, Massachusetts, where at 17 she gave her first coffee-house concert. She was invited to perform at the premiere Newport Folk Festival in 1959 by pop folk star Bob Gibson,[20] after which Baez was sometimes called "the barefoot Madonna", gaining renown for her clear voice and three-octave range. She recorded her first album for a Vanguard Records the following year – a collection of laments and traditional folk ballads from the British Isles, accompanying the songs with guitar. Her second LP release went gold, as did her next (live) albums. One record featured her rendition of a song by the then-unknown Bob Dylan. In the early 1960s, Baez moved into the forefront of the American folk-music revival. Increasingly, her personal convictions – peace, social justice, anti-poverty – were reflected in the topical songs that made up a growing portion of her repertoire, to the point that Baez became a symbol for these particular concerns.
  • The Chad Mitchell Trio began in 1959 and emerged in the early 1960s. The group performed a mix of creatively arranged traditional songs and contemporary numbers that frequently included satiric and political overtones.
  • The Highwaymen were an early 1960s "collegiate folk" group that originated at Wesleyan University and had a Billboard number-one hit in 1961 with "Michael", a version of the African-American spiritual Michael, Row the Boat Ashore, and another Top 20 hit in 1962 with "Cottonfields". "Michael" sold over one million copies, and was awarded a gold record.[21][22]
  • The New Christy Minstrels are a folk music group founded by Randy Sparks in 1961.[23] They recorded over 20 albums and had several hits, including "Green, Green", "Saturday Night", "Today", "Denver", and "This Land is Your Land". Their 1962 debut album, Presenting The New Christy Minstrels won a Grammy Award and sat in the Billboard charts for two years.[24]
  • The Rooftop Singers were an American progressive folk singing trio in the early 1960s, best known for the hit record "Walk Right In".
  • The Serendipity Singers was a nine-member group that started at the University of Colorado and became known nationally in 1964 for a heavily pop-inflected approach to folk music.
  • Bob Dylan often performed and sometimes toured with Joan Baez, starting when she was a singer of mostly traditional songs. As Baez adopted some of Dylan's songs into her repertoire and even introduced Dylan to her avid audiences, a large following on the folk circuit, it helped the young songwriter to gain initial recognition. By the time Dylan recorded his first LP (1962) he had developed a style reminiscent of Woody Guthrie.[25] He began to write songs that captured the "progressive" mood on the college campuses and in the coffee houses. Though by 1964 there were many new guitar-playing singer/songwriters, it is arguable that Dylan eventually became the most popular of these younger folk-music-revival performers.
  • Peter, Paul and Mary debuted in the early 1960s and were an American trio who ultimately became one of the biggest musical acts of the 1960s. The trio was composed of Peter Yarrow, Paul Stookey and Mary Travers. They were one of the main folk music torchbearers of social commentary music in the 1960s.[20] As the decade passed, their music incorporated more elements of pop and rock.
  • Judy Collins debuted in the early 1960s. At first, she sang traditional folk songs or songs written by others – in particular the protest songwriters of the time, such as Tom Paxton, Phil Ochs, and Bob Dylan. She also recorded her own versions of important songs from the period, such as Dylan's "Mr. Tambourine Man", Pete Seeger's "Turn, Turn, Turn" and Eric Andersen's "Thirsty Boots".
  • The Seekers, an Australian folk and pop music group, were formed in 1962. They moved to the UK in 1963 and blended traditional music, contemporary folk music and pop. The Seekers enjoyed great popularity in the English-speaking world with hit songs like "I Know I'll Never Find Another You", "A World Of Our Own," and "Georgy Girl".
  • Canada's duo of Ian Tyson and Sylvia Fricker, performing as Ian & Sylvia, released their first album in 1963. The duo featured a creative mix of traditional American and Canadian folk songs in both English and French as well as contemporary singer-songwriter compositions by Dylan and Paxton, and numbers that they themselves composed like "Four Strong Winds" and "Someday Soon" by Tyson and "You Were On My Mind" by Fricker.
  • Neil Young, Neil Young started his career in 1960s. Along with Dewey Martin, they formed Buffalo Springfield. A mixture of folk, country, psychedelia, and rock, lent a hard edge by the twin lead guitars of Stills and Young, made Buffalo Springfield a critical success, and their first record Buffalo Springfield (1966) sold well after Stills' topical song "For What It's Worth" became a hit, aided by Young's melodic harmonics played on electric guitar.

The mid-1960s through the early 1970s

The large musical, political, lifestyle, and counterculture changes most associated with "the 60s" occurred during the second half of the decade and the first year or two of the 1970s. Folk music underwent a related rapid evolution, expansion and diversification at that same time. Major changes occurred through the evolution of established performers such as Bob Dylan, Joan Baez, Judy Collins, the Seekers and Peter Paul and Mary, and also through the creation of new fusion genres with rock and pop. Much of this evolution began in the early 1960s and emerged into prominence in the mid and late 1960's. One performance "crucible" for this evolution was Greenwich Village New York. Dylan's use of electric instruments helped inaugurate the genres of folk rock and country rock, particularly by his album John Wesley Harding.[26][27]

These changes represented a further departure from traditional folk music. The Byrds with hits such as Seeger's "Turn! Turn! Turn!" were emblematic of a new term folk rock. Barry McGuire left the New Christy Minstrels and recorded "Eve of Destruction" in 1965.[28] Other performers such as Simon & Garfunkel and the Mamas & the Papas created new, hard-to-classify music that was folk-inflected and often included in discussions of folk rock.[26][29]

During this period, the term "protest music" was often used to characterize folk music with topical political themes. The convergence of the civil rights movement and folk music on the college campus led to the popularity of artists like Bob Dylan and his brand of protest music.[30] As Folk singers and songwriters such as Phil Ochs, Buffy Sainte-Marie, Arlo Guthrie and Tom Paxton followed in Woody Guthrie's footsteps, writing "protest music" and topical songs and expressing support for various causes including the American Civil Rights Movement and anti-war causes associated with the Vietnam War.[31] . Songs like Dylan's "Blowin' in the Wind" became an anthem for the civil rights movement, and he sang ballads about many other current issues of the time, such as "Hard Rain's Gonna Fall" about the Cuban missile crisis. Dylan is quoted having said "there's other things in this world besides love and sex that're important, too."[30] A number of performers who had begun their careers singing largely traditional material, as typified by Baez and Collins, began to write their own material.

The Canadian performers Gordon Lightfoot, Leonard Cohen, Bruce Cockburn and Joni Mitchell represented such fusions and enjoyed great popularity in the U.S.; all four were eventually invested with the Order of Canada. Many of the acid rock bands of San Francisco began by playing acoustic folk and blues. The Smothers Brothers television shows featured many folk performers, including the formerly blacklisted Pete Seeger.[32]

Bonnie Koloc is a Chicago-based American folk music singer-songwriter who made her recording debut in 1971. In 1968 Melanie, released her first album in 1968 with several popular songs with a folk/pop blend.

The mid to late Sixties saw the development of British folk rock, with a focus on indigenous (European, and, emblematically, English) songs. A key British folk rock moment was 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 to pursue a more traditional repertoire performed in the folk rock style. Following his own departure from the group, Thompson and his wife Linda released six critically acclaimed albums as a duo which integrated folk rock and art rock. Exponents of British folk rock such as Fairport Convention, Pentangle, Alan Stivell and Mr. Fox saw electrification of traditional musical forms as a means to reach a far wider audience.

Mid-1970s through present day

Starting in the 1970s, folk music was fueled by new singer-songwriters such as Steve Goodman, John Prine, Emmylou Harris, Joni Mitchell, John Denver, Harry Chapin, and many more. In the British Isles, the Pogues in the early 1980s and Ireland's the Corrs in the 1990s brought traditional tunes back into the album charts. The Corrs were active from 1990 to 2006 and performed Celtic and pop music, and created a blend of the two. Carrie Newcomer emerged with Stone Soup in 1984 and has been performing individually since 1991. Brandi Carlile and Patty Griffin are prominent folk artists circa 2019.

In the 1980s, the Washington Squares played "throwback" folk music. Suzanne Vega performed folk and protest folk-oriented music[33]. The Knitters promulgated 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 Miranda Stone and Steve Earle.

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. Canada's biggest-selling folk group of the 1990s and 2000s was the Celtic, rock-tinged Great Big Sea from Newfoundland, who have had four albums certified platinum in Canada.

Folk metal bands such as Korpiklaani, Skyclad, Waylander, Ensiferum, Ithilien 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.

Viking metal is defined in its folk stance, incorporating folk interludes into albums (e.g., Bergtatt and Kveldssanger, the first two albums by once-folk metal, now-experimental band Ulver). Mumford & Sons a folk rock and indie folk band was formed in 2007 and achieved prominence in 2010. Shenandoah Run formed in 2011 to bring contemporary American folk music of the 1960s to modern listeners.[34]

Specialty subgenres

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).[35] 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 but it also influences other regions. Pagan Folk music is prominent in Germany, the United Kingdom, Scandinavian countries and slavic countries with singers like David Smith (Aka Damh the bard) and Bands like Danheim, Faun, Omnia, Wardruna and Arkona. Most bands join the folk genre with other musical genres like metal or electronica.[36]

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. Industrial folk music is a characterization of folk music normally referred to under other genres, and covers music of or about industrial environments and topics, including related protest music.

Other subgenres include indie folk, folktronica, freak folk and Americana and fusion genres such as folk metal, progressive folk, psychedelic folk, and neofolk.

European contemporary folk music

In Europe, the term "folk" is used just for a special modern genre (the traditional folk is called folklore or national music).

The Czech folk music is influenced by Czech traditional music an songwriters, "tramping" music, as well as by English-language country and contemporary-folk music, spirituals and traditionals, bluegrass, chanson etc. In the second half of the 20th century, all the similar genres coexisted as a protest multigenre, in contrast to the official pop music, to the rock music etc. Since 1967, the "Porta" festival became the centre of this genre, originally defined as a festival of country & western & tramping music. Acoustic guitars were the most typical instrument for them all.


  1. Ruehl, Kim. "Folk Music". definition. Retrieved August 18, 2011.
  2. "Folk Music and Song", American Folklife Center, Library of Congress
  3. The Never-Ending Revival by Michael F. Scully University of Illinois Press Urbana and Chicago 2008 ISBN 978-0-252-03333-9
  4. Blumenfeld, Hugh (2000-06-14). "Folk Music 101: Part I: What Is Folk Music – Folk Music". The Ballad Tree. Archived from the original on 2002-06-27. Retrieved 2017-02-08.
  6. Ellis, Iain. "Resistance And Relief: The Wit And Woes Of Early Twentieth Century Folk And Country Music." Humor: International Journal of Humor Research 23.2 (2010): 161–178. Literary Reference Center Plus. Web. 14 September 2012
  7. Gilliland 1969, show 18.
  8. Library of Congress. Related Material – Woody Guthrie Sound Recordings at the American Folklife Center. Retrieved on November 27, 2007.
  9. "Crossroads: Woody Guthrie". University of Virginia. Archived from the original on 2003-02-07. Retrieved 2012-12-29.
  10. Spivey, Christine A. "This Land is Your land, This Land is My Land: Folk Music, Communism, and the Red Scare as a Part of the American Landscape". Archived from the original on February 14, 2002. Retrieved 2008-06-25. The Student Historical Journal 1996–1997, Loyola University New Orleans, 1996.
  11. Cultural Equality – Alan Lomax profile Burl Ives (1909–1995) by Ellen Harold and Peter Stone
  12. Peter Dreier, "Pete Seeger Deserves One More Honor -- the Nobel Peace Prize"The Huffington Post 5/4/09.
  13. McCoy, Adrian (November 26, 2009). "NewLanders Write a Song for Folk Legend Preview". Pittsburgh Post-Gazette. Block Communications.
  14. Robert Schmertz, credits at AllMusic. Retrieved October 30, 2015.
  15. Gilliland 1969, show 1.
  16. David King Dunaway, How Can I Keep From Singing?
  17. Clarke, SP, "Odetta- American Folk Music Pioneer"
  18. Rubeck, Shaw, Blake et al., The Kingston Trio On Record (Naperville IL: KK Inc, 1986), p. 11 ISBN 978-0-9614594-0-6
  19. Eder, Bruce. "Biography of The Kingston Trio". AllMusic Guide. Retrieved July 17, 2009.
  20. Gilliland 1969, show 19.
  21. Murrells, Joseph (1978). The Book of Golden Discs (2nd ed.). London: Barrie and Jenkins Ltd. p. 136. ISBN 0-214-20512-6.
  22. "The Highwaymen". Retrieved 2012-12-30.
  23. Bogdanov, Vladimir; Woodstra, Chris; Erlewine, Stephen Thomas, All music guide: The Definitive Guide to Popular Music, Hal Leonard Corporation, 2001. Cf. p.793
  24. Eder, Bruce. "The New Christy Minstrels". AllMusic. Retrieved 2010-07-13.
  25. Gilliland 1969, shows 31-32.
  26. Unterberger, Richie. (2002). Turn! Turn! Turn!: The '60s Folk-Rock Revolution. Backbeat Books. p. 178. ISBN 0-87930-703-X.
  27. Gilliland 1969, show 54.
  28. Gilliland 1969, show 33.
  29. Gilliland 1969, show 36.
  30. Szatmary, David P. (2004). Rockin' in time : a social history of rock-and-roll (5th ed.). Upper Saddle River, NJ: Prentice Hall. ISBN 0-13-112107-3.
  31. Gilliland 1969, show 34.
  32. Bianculli, David (2009). Dangerously Funny: The Uncensored Story of the Smothers Brothers Comedy Hour. New York: Touchstone (Simon & Schuster). pp. 130–134, 193–196. ISBN 978-1-4391-0116-2.
  34. "About Shenandoah Run". Retrieved 2015-02-03.
  35. "Definition of filk by FilkOntario". Archived from the original on 2013-02-07. Retrieved 2012-12-29.
  36. "Music | Castlefest". Retrieved 2017-07-04.


Further reading

  • Cantwell, Robert. When We Were Good: The Folk Revival. Cambridge: Harvard University Press, 1996. ISBN 0-674-95132-8
  • Cohen, Ronald D., Folk music: the basics, Routledge, 2006.
  • Cohen, Ronald D., A history of folk music festivals in the United States, Scarecrow Press, 2008
  • Cohen, Ronald D. Rainbow Quest: The Folk Music Revival & American Society, 1940–1970. Amherst: University of Massachusetts Press, 2002. ISBN 1-55849-348-4
  • Cohen, Ronald D., ed. Wasn't That a Time? Firsthand Accounts of the Folk Music Revival. American Folk Music Series no. 4. Lanham, Maryland and Folkstone, UK: The Scarecrow Press, Inc. 1995.
  • Cohen, Ronald D., and Dave Samuelson. Songs for Political Action. Booklet to Bear Family Records BCD 15720 JL, 1996.
  • Cooley, Timothy J. Making Music in the Polish Tatras: Tourists, Ethnographers, and Mountain Musicians. Indiana University Press, 2005 (Hardcover with CD). ISBN 0-253-34489-1
  • Cray, Ed, and Studs Terkel. Ramblin Man: The Life and Times of Woody Guthrie. W.W. Norton & Co., 2006.
  • Cunningham, Agnes "Sis", and Gordon Friesen. Red Dust and Broadsides: A Joint Autobiography. Amherst: University of Massachusetts Press, 1999. ISBN 1-55849-210-0
  • Czekanowska, Anna. Polish Folk Music: Slavonic Heritage – Polish Tradition – Contemporary Trends. Cambridge Studies in Ethnomusicology, Reissue 2006 (Paperback). ISBN 0-521-02797-7
  • De Turk, David A.; Poulin, A., Jr., The American folk scene; dimensions of the folksong revival, New York : Dell Pub. Co., 1967
  • Denisoff, R. Serge. Great Day Coming: Folk Music and the American Left. Urbana: University of Illinois Press, 1971.
  • Denisoff, R. Serge. Sing Me a Song of Social Significance. Bowling Green University Popular Press, 1972. ISBN 0-87972-036-0
  • Denning, Michael. The Cultural Front: The Laboring of American Culture in the Twentieth Century. London: Verso, 1996.
  • Dunaway, David. How Can I Keep From Singing: The Ballad of Pete Seeger. [1981, 1990] Villard, 2008. ISBN 0-306-80399-2
  • Eyerman, Ron, and Scott Barretta. "From the 30s to the 60s: The folk Music Revival in the United States". Theory and Society: 25 (1996): 501–43.
  • Eyerman, Ron, and Andrew Jamison. Music and Social Movements. Mobilizing Traditions in the Twentieth Century. Cambridge University Press, 1998. ISBN 0-521-62966-7
  • Filene, Benjamin. Romancing the Folk: Public Memory & American Roots Music. Chapel Hill: The University of North Carolina Press, 2000. ISBN 0-8078-4862-X
  • Goldsmith, Peter D. Making People's Music: Moe Asch and Folkways Records. Washington, DC: Smithsonian Institution Press, 1998. ISBN 1-56098-812-6
  • Hajdu, David. Positively 4th Street: The Lives and Times of Joan Baez, Bob Dylan, Mimi Baez Fariña and Richard Fariña. New York: North Point Press, 2001. ISBN 0-86547-642-X
  • Hawes, Bess Lomax. Sing It Pretty. Urbana and Chicago: University of Illinois Press, 2008
  • Jackson, Bruce, ed. Folklore and Society. Essay in Honor of Benjamin A. Botkin. Hatboro, Pa Folklore Associates, 1966
  • Lieberman, Robbie. "My Song Is My Weapon:" People's Songs, American Communism, and the Politics of Culture, 1930–50. 1989; Urbana: University of Illinois Press, 1995. ISBN 0-252-06525-5
  • Lomax, Alan, Woody Guthrie, and Pete Seeger, eds. Hard Hitting Songs for Hard Hit People. New York: Oak Publications, 1967. Reprint, Lincoln University of Nebraska Press, 1999.
  • Lynch, Timothy. Strike Song of the Depression (American Made Music Series). Jackson: University Press of Mississippi, 2001.
  • Middleton, Richard (1990). Studying Popular Music. Milton Keynes; Philadelphia: Open University Press. ISBN 0-335-15276-7 (cloth), ISBN 0-335-15275-9 (pbk).
  • Pegg, Carole (2001). "Folk Music". The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie and John Tyrrell. London: Macmillan.
  • Reuss, Richard, with [finished posthumously by] Joanne C. Reuss. American Folk Music and Left Wing Politics. 1927–1957. American Folk Music Series no. 4. Lanham, Maryland and Folkstone, UK: The Scarecrow Press, Inc. 2000.
  • Rubeck, Jack; Shaw, Allan; Blake, Ben et al. The Kingston Trio On Record. Naperville, IL: KK, Inc, 1986. ISBN 978-0-9614594-0-6
  • Scully, Michael F. (2008). The Never-Ending Revival: Rounder Records and the Folk Alliance. Urbana: University of Illinois Press.
  • Seeger, Pete. Where Have All the Flowers Gone: A Singer's Stories. Bethlehem, Pa.: Sing Out Publications, 1993.
  • Sharp, Charles David. Waitin' On Wings, What Would Woody Guthrie Say. Riverside, Mo.: Wax Bold Records, 2012.
  • Willens, Doris. Lonesome Traveler: The Life of Lee Hays. New York: Norton, 1988.
  • Weissman, Dick. Which Side Are You On? An Inside History of the Folk Music Revival in America. New York: Continuum, 2005. ISBN 0-8264-1698-5
  • Wolfe, Charles, and Kip Lornell. The Life and Legend of Leadbelly. New York: Da Capo [1992] 1999.
  • 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.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.