1940s
A01=Michael Brocken
Alan Bush
Author_Michael Brocken
British
British Folk Revival
Category=AVLP
Cecil Sharp
Cecil Sharp House
EFDSS
English Folk Dance
English Folk Dance Society
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
ethnomusicology Britain
Fairport Convention
FECD
folk club culture
Folk Clubs
Folk Festival
Folk Music
Folk Music Revival
Folk Revival
Folk Scene
Folk Song
Folk Song Society
Fox Strangways
Geoff Wall
left-wing cultural movements
Martin Carthy
Music
music and politics UK
music historiography
Oyster Band
popular music studies
Post-war
postwar British folk music evolution
Rock Island Line
Steeleye Span
Topic Records
Young Men
Product details
- ISBN 9780367249397
- Weight: 2900g
- Dimensions: 156 x 234mm
- Publication Date: 31 Mar 2021
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
Secure
checkout
Fast Shipping
Easy returns
This title was first published in 2003. This work considers the post-war folk revival in Britain from a popular music studies perspective. Michael Brocken provides a historical narrative of the folk revival from the 1940s up until the 1990s, beginning with the emergence of the revival from within and around the left-wing movements of the 1940s and 1950s. Key figures and organizations such as the Workers' Music Association, the BBC, the English Folk Dance and Song Society, A.L. Lloyd and Ewan MacColl are examined closely. By looking at the work of British Communist Party splinter groups it is possible to see the refraction of folk music as a political tool. Brocken openly challenges folk historicity and internal narrative by discussing the convergence of folk and pop during the 1950s and 1960s. The significant development of the folk/rock hybrid is considered alongside "class", "Americana", radio and the strength of pop culture. Brocken shows how the dichotomy of artistic (natural) versus industry (mass-produced) music since the 1970s has led to a fragmentation and constriction of the folk revival. The study concludes with a look at the upsurge of the folk music industry, the growth of festivals and the implications of the Internet for the British folk revival. Brocken suggests the way forward should involve an acknowledgement that folk music is not superior to but is, in fact, a form of popular music.
