What is Folk Music? Thoughts on the History of Folk & its Various Subgenres

Introduction

From it's ancient history to today's modern fusions folk music is a broad church. To try and make some sense of this deceptively simple sounding term we've thrown together a brief outline of, largely Western, folk history and its evolution.
If you're looking for an absolute or purist definition of folk music then I'm afraid you won't find it here, in fact it's debatable if one even exists.

Carry on reading though and you will find facts, historical context, as well as our thoughts on the development of folk music, more to encourage debate and provoke questions, rather than provide definitive answers. For further investigation, search engines and some of the resources listed at the end of the article are your friend.

What is Slow Folk?

Slow Folk is the name we've coined for our latest playlist to accompany this article. It's a respectful, admittedly very modern and  open minded trawl through the folk genre in it's many forms and guises.  Although we could have gone way back in time due to some wonderful archive recordings  (links at end), the recording quality is  quite naturally, given the technology available at the times, pretty awful.

As it is pretty much impossible to design a coherent playlist with such wildly fluctuating recording qualities please find a nice selection of well recorded, nicely sequenced, more modern folk tunes of various descriptions for an altogether more pleasant, modern listening experience.

Keep you eyes on the playlist as we will update it over time. Here's a smartlink to the same playlist on various streaming services.

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Tradition and roots are the shoulders that we and most musical genres stand on but we feel it is equally important to be present in the new millennium. Folk music is no exception. Bob Dylan will back us up:

What is Folk Music?

Music of the people and rooted in local tradition, is the often quoted definition of folk, but folk is as old as speech itself. It was first hummed in caves, and then thousands of years later played in camps, villages and conurbations around the world just as soon as music developed in a region. It predates literacy, recorded history and even speech. More than likely its earliest origin was the human voice imitating the sounds of nature and cave life. Once the first sounds approaching a melody were hummed by primitive man, then they were undoubtedly passed on. We all know that if we hear a catchy tune, then we'll often start humming it ourselves later in the day, why would it have been any different back then?

Folk music is also part of the great oral tradition. Songs were composed by the local musical maverick and consequently passed down through the generations by word of mouth. It was transported to other regions by wandering minstrels, migrant workers and those lucky enough to leave their village. In the good old days there weren't a multitude of entertainment options so story tellers, entertainers and singers got a wide and attentive audience. Songs and stories were heard multiple times, remembered then retold  around camp fires, meeting places and in living quarters far and wide.

Many original composers, especially the poorer ones, have been forgotten over time, if in fact they were ever truly recognised. Communication was limited and slow - a horse pace if you were lucky but more likely a walking pace, and dictated by people's daily needs rather than any desire to spread music to a wider audience. Folk music like society, was localised and no early composers, certainly static ones - wandering ones slightly less so, would have become popular enough to have their fame spread much further than the next town or village.

With no sheet music, not to mention most poor people's inability to read and write, a massive unintentional game of Chinese whispers would have taken hold. Words of songs would have been misheard, forgotten and changed unintentionally, verses added or subtracted on a whim and songs personalised. As with most creative endeavour some songs would have inspired further original compositions, others would have just been plagiarised for personal financial gain or reasons of vanity.

Music has actually been notated since 2000 BC, the eariest examples were found in Iraq and chiselled on tablets. It was first printed in the West in 1457 but it wasn't until the 18th century that sheet music was printed on any meaningful scale and distributed, a real game changer. Until this time most documented music was to be found in the  personal manuscripts of educated musicians. Education meant money and because it was only the wealthy doing the documenting a lot of the music would have been religious and classic in nature as those were favoured by the wealthier classes. Folk music, due to it's distance from the church and the pious elites, largely retained more earthy, mundane and secular themes.

Societal values and views always loomed large over folk. Was music in a region widely enjoyed? Was it encouraged or seen as a threat by the local ruler? Mostly this went in waves dependent on the paranoia or benevolence of the ruling classes and quite often an invading army. The recent extremist crack down on Arabic folk music in some parts of the Muslim world is a stark reminder of this. Cultural imperialism would have been rife with soldiers bringing their own songs & styles, sometimes with intent to  systematically replace local ones in an effort to culturally, as well as physically, dominate a new territory. More often, I'm guessing, a cultural cross polination took place with elements of different folk styles from both victorious & defeated armies, combining into new hybrids. Maybe exposure to a new style hastened development in the other, inspired by new instruments, vocal styles or compositional ideas?

Music gatherings have always been seen as a potential meeting place for subversives; probably rightly so. Even if revolutionary meetings weren't planned alcohol always emboldens talk of dissatisfaction and dreams of change. Musicians have often been more radical, alternative, free thinking, or politically and socially questioning than your average Joe. Lyrics in songs, poems and books have long cocked a snoot at invaders and ruling classes. In fact the very term "cock a snoot" dates back to the eighteenth century but that certainly wasn't the starting date for protest lyrics. More recent examples can be found in Brazil's Tropicalia movement and throughout the history of black music in the twentieth century. During various periods of peace then attentions would perhaps have changed to more benign matters - affairs of the heart, making a living or plain old braggadocio.

What was a cultures perception of musicians? Were they treated with reverence for their abilities or  suspicion? Free thinking mavericks and bohemians were often reviled, mistrusted or at best ignored by many normal folk, in much the same way as the old lady with herbal knowledge in the forest hut, that you went to as a last resort with a family illness or unplanned pregnancy. Western religions & their musical elitism were partly responsible for much of this suspicion, and it is notable that folk music played a more integral part in many economically poorer, more animistically leaning belief systems around the world.

How rich was a society? Could people afford instruments or did they have to make their own? Certainly wooden wind instruments play a large part in folk history. Whistles, flutes, the didgeridoo and hand made recorders litter folk music throughout the ages, and thank heavens for conveniently ready hollowed bamboo in more tropical climates. A handful of lucky musicians would have found patronage from the wealthy in need of entertainment. Very few would have managed to support themselves through their art, and I'm guessing the majority of folk musicians were composing and singing songs whilst in the fields. All the manual labour, more prevalent in days gone by, wouldn't have left much time to be creative and if you did find time you were probably singing about how tired you were or why you never had enough food in winter.

Geography is another interesting factor in the development of folk music. Apart from obvious references to local physical geography in hotter climes, musicians would have been practising outdoors for more of the year and henceforth getting more listeners. People would have been stopping as they were passing to work, travelling through a village or even listening unintentionally from afar as they worked. Soundwaves weren't being obstructed by a yurt, wig wam, hut or igloo's walls and people wouldn't have been in a hurry to get inside before they got frostbite or a soaking. Working songs were more likely to be sung in the sun than in the rain or cold. Is this why African music is so much richer than Greenlands? The climate is surely why Norwegian folk is more melancholic than it's Senegalese counterparts?

Thankfully, folk music being of the people, their  experiences and geography, means it is consequently as rich and varied as people and the planet are. Bamboo flutes in Asia, bagpipes in Scotland, drums in Africa, stringed instruments in Egypt. Peacefuly songs in Bhutan and many a tale telling of war in Europe. As humanity started in Africa we can at least say with some certainty that is where folk music originated. As soon as music left the motherland it rapidly adapted to represent it's new surroundings, the character of those travellers that transported it and the long term residents of its new homes. Consequently folk music is intrinsically linked to cultural identity.

So the nearest you are going to get to a definition of folk music from me is that it is music that is sung and played by the people. Music that originally mimicked the natural sounds of people's surroundings but then evolved with the advent of language into a sung oral tradition detailing everyday life, it's ups and downs and universal themes - love, loss, birth, death, sun, rain, hard times, good times, peace, war, power, subservience, harvest, famine, hard toil and life's pleasures, all given a location based twist, and it hasn't stopped evolving yet. Welcome to the world of folk music.

What is Modern folk?

The term folklore was coined by an English antiquarian William Thoms in 1846. Folklore condensed various other terms of the time like "popular literature" or "popular antiquities". Folk song, folk tales and folk dance are all extensions of folklore which was in itself derived from the German expression, volk, coined 50 years earlier and meaning "the people as a whole". After happily existing for thousands of years Folk Music now had a name. Modern Folk was born and right from it's linguistic inception it was rightly associated with the lower classes, as opposed to the classical music entertaining the palaces and moneyed classes. If class warfare has a soundtrack then folk is right there alongside punk.

There was a time not so long ago when folk, like rock or pop would have been sufficient to describe a large swathe of music but now we insist on multiple sub-genres so let's briefly looks at a few of these folk derivatives. The sub-title of the accompanying playlist to this article goes: "A laid back and open minded look at the world of traditional/indie/acid folk,  Americana, singer songwriters, cosmic blues, global roots & electro acoustic fusions." It might seem like a wide ranging collection of genres but to be honest there really there isn't a lot of difference. It's all a load of old folk and as good a place as any to start.

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FUTURE FOLK: FRIENDLY FACES; DIFFERENT SPACES

This is a late addition to the original article, but a worthy, if self interested and shameless one! Over the last  couple of years since I wrote this blog post I've become more and more fascinated by folk, so getting some of my favourite artists who lit the flame under my folk fire to record some songs for The Slow Music Movement record label seemed like a logical step.

I couldn't be happier how it has turned out. It's a vivid snapshot of where folk has been, where it's at and where its going. Check it out it's a fine accompanying listen to this article, although it won't be available until April 15th, 2021 for anyone reading before that date!

You can also pre-save the LP to your favourite streaming platform by hitting this smartlink.

What is Traditional Folk?

Traditional folk music is the most popular and recognised form of folk music wherever you might be. It is those songs that have become ubiquitous through repetition and repeated cover versions. Often traditional folk has antiquated subject matter or if newer songs then they have bygone themes and compositions that feature the most traditional folk music song structures and the classic instruments, such as the talking drum in West Africa, Celtic harp or siku, the Andean pan flute. Get a small glimpse by checking the Calypso sound of Lord Invader's "Brown Girl in the Ring" or Pete Seeger's, controversial today, "Yankee Doodle" or the Indonesian classic "Ayo Mama". If you've got a few months to spare then head over to Smithsonian Folk Ways or the archived recordngs of Alan Lomax, both incredible resources of musical times gone by..

What is Indie Folk?

This is one of those sub-genres beloved of modern music journalists. Arising sometime in the 1990s to describe the music created by restless indie rock musicians who were looking to diversify their sounds, or start a solo project alongside their rockier day job. Indie folk took the Western folk traditions, mostly acoustic guitar led it must be said, and added contemporary instrumentation, new arrangements and fresh lyrical content. After the decline of acid folk this "new" style of music was a welcome breath of fresh air and helped revive a genre that had stylistically stagnated in the late 70's and 80's, arguably a low point for post war Western folk music. Say a big thank you to the likes of Will Oldham and Ani DiFranco.

What is Acid Folk?

This sub-genre is a personal favourite due to my fondness for the 60's & 70's countercultural movement. Originating in the 1960s it still remained largely acoustic but threw in, thanks to various communication advances, some instruments & tropes more familiar with other far flung folk traditions like the sitar and the drone. It contemporized the lyrics, in the great folk tradition, to encompass common themes of the time - the Vietnam war, feminism, drug taking, alternative thinking and living. Cross pollination with other genres and the emerging electronic scene all of a sudden weren't taboo and possibilities like incorporating tape loops, guitar pedals or effects to give that hazy psychedelic vibe were explored. Cross pollination with other genres was rife, epitomised by the Laurel Canyon (now almost a genre in its own right) scene where folk met rock, jazz, world music, psychedelia and the blues, to legendary effect. I mean Joni Mitchell and Crosby, Stills & Nash were neighbours and lived down the road from Jim Morrison, Carole King and Frank Zappa to name just a few. It was always going to happen!

The genre unfortunately died off with the decline of the psychedelic movement in the 70's and the rise of harder rock but has been a massive influence on micro scenes and independent artists in the following decades to this day and no doubt in the future.

What is Americana?

This is simply a term to describe folkloric music, in our case, but in fact anything with an American heritage. Sub-genres don't get much broader and looser than this. To keep it brief it can and does encompass country, bluegrass, blues, American primitive guitar playing, R&B & rock not to mention grits, cowboys and Jack Daniels, all three of which have cropped up more than their fair share in folk music lyrics. Neil Young's "Heart of Gold" anyone?

What the hell is Cosmic Blues?

OK I made this sub-genre up. Here at The Slow Music Movement we love a bit of fusion and the word cosmic has all sorts of juicy psychedelic allusions not to mention referencing the German Kosmische scene and conveys a generally spaced out extra dimensional creative vision. What's not to like? Check out some Bodhi Cheetha's Boogie Blues or Fink's "Cold Feet" that we included in the playlist to get the idea.

What can I say about the blues? Already briefly mentioned above as connected to Americana, but undoubtedly a genre in it's own right. Originally hailing from Africa where its roots have been revealed in recent years by the global popularity of desert blues groups like Tinariwen & artists like Mali's, Ali Farka Touré. The blues first started appearing or being named as such at the start of the 20th century. If folk music is the people's music then the blues is quintessential folk music. It laid bare the African American experience in the south of America with it's orally transmitted work songs, spirituals, tales of enduring hardship, discrimination and abuse as well as timeless universal themes. Originally played on the most basic of instruments out of economic necessity Blues is about as folk as folk music gets and, as the root of so much of 20th century music - jazz, soul and rock and roll, certainly the most influential folk music from a contemporary music viewpoint. If you need a reminder then take a quick listen to the well polished sound of Sonny Terry & Brownie McGhee or the rawer Robert Johnson.

What is Global Roots?

Folk, obviously for an English word from German roots, more often than not refers to the traditional western strains of folkloric music but as previously discussed folk music hails from every corner of the world. Wherever there is music there is folk music.  Global roots, indigenous, folkloric, world music, call it what you will; most of modern music today the world over is rooted in the folk music of centuries gone by. Check out some Paco De Lucia, Sivuca, or Le Trio Joubran, just the tip of the world's biggest musical iceberg

What is Electro Acoustic Folk?

Folktronica or electro acoustic folk will be the most contentious addition to this article and the playlist. Folk music aficionados, in our experience, often love tradition and in many quarters are still resistant to change. Any deviation from those age old acoustic instruments, familiar arrangements and vocal delivery can often be met with resistance, scepticism and sometimes outright hostility. Just ask Bob Dylan when he went electric.

Well this is 2018 and "the times are a changing". Since the 80's music technology has become affordable, portable and ubiquitous and, relatively speaking, this is just the start. Just you wait for the brain wave controlled music generator headset that is probably only ten years down the line.

You also can't tell me that a wandering minstrel of yore wouldn't have welcomed a portable amplifier, a drum machine and some virtual harp or lyre VST  instruments to imitate an ensemble without the time and expense of hiring, rehearsing and transporting a group of unreliable, heavy drinking musicians? Of course they would! Slowly but surely modern folk musicians have been embracing and incorporating electronic elements since the 60s, and it's not going to stop here.

Traditional instruments and songs are being fused with field recordings, samples, effects and keyboards. Unashamedly electronic artists are making entirely electronic backing tracks with folk vocals to highlight their concerns about society, the environment and injustice. Modern effects are being thrown into the mix by more acoustic leaning musicians to contemporize traditional sounds and grab the interest of a younger generation. If you want a taste then check out some Beta Band and Little Dragon or hear what the Gotan Project did to tango or Ojos De Brujo did to Flamenco.

If folk music is music of the people, by the people and representative of society and location then have a quick think about modern living. Most of humanity live in cities, in the more developed nations we work with computers, stare at screens during our commute then stare at connected devices to relax in the evenings. Folk music has constantly evolved ever since the cave dwellers were humming in time to the sounds of nature. Folk will naturally adapt to represent today's modern lifestyles although I'm sure that there will be no shortage of folk musicians living quieter lives in rural situations and singing about rosy cheeked lasses and mighty storms for quite some time to come.

To keep the peace, in this transitional period for folk music, we've focussed mostly on artists that are fusing the old and the new, often it seems with stringed instruments. We couldn't resist being slightly contrary though so we've thrown in a couple of entirely electronic tracks. See if you think they sound out of place? It's the future don't you know.

RESOURCES:

British Library archive of World & Traditional Music - An amazing resource of global folkloric music from everywhere from the Uralic regions & Syriac Liturgican music to Ugandan traditional via recordings from Guinea, Scotland & Nepal not to mention interviews with various ethnomusicologists. They've got the whole world covered but obviously going deeper into the English folk heritage.

Alan Lomax Archive - The dedication of Alan Lomax can't be overstated as he travelled the world for 50 years recording everything as he went. Music from Azerbaijan, Guadeloupe & Wales sits next to sessions from Blues legend Muddy Waters & folk hero Woody Guthrie.

International Library of African Music - The greatest repository of sub Sahararn African music in the world apparently with recordings dating back to 1929.

Smithsonian Folkways - Non profit record label of the Smithsonian Institute, the national musem of the United States. Mindblowing archives of folk & traditional music history from around the world.

Feel free to add any other archives you feel important in the comments section and I will add them over time.