Folk music and Manchester, Iowa: Difference between pages

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{{Infobox Settlement
{{citations missing|date=October 2008}}
|official_name = Manchester, Iowa
{{OR|date=October 2008}}
|settlement_type = [[City]]
{{redirect|Folk song}}
|nickname = Captains of Science and Industry
'''Folk music''' can have a number of different meanings, including:
|motto = Dolor Pēditum
* '''[[Traditional music]]''': The original meaning of the term "folk music" was synonymous with the term "Traditional music", also often including [[World Music]] and Roots music; the term "Traditional music" was given its more specific meaning to distinguish it from the other definitions that "Folk music" is now considered to encompass.
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* Folk music can also describe a particular kind of '''[[popular music]] which is based on traditional music'''. In contemporary times, this kind of folk music is often performed by professional musicians. Related genres include [[Folk rock]] and [[Progressive folk music]].
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* In '''American culture''', folk music refers to the [[American folk music revival]], music exemplified by such musicians as [[Woody Guthrie]], [[Pete Seeger]], [[Ramblin' Jack Elliot]], [[Bob Dylan]], [[Phil Ochs]], and [[Joan Baez]], who popularized and encouraged the lyrical style in the 1950s and 1960s.
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==Definitions of Folk or Traditional music==
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{{main|Traditional music}}
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Charles Seeger (1980) describes three contemporary defining criteria of folk music:<ref>Quoted in Middleton 1990, p.127-8.</ref>
|map_caption = Location of Manchester, Iowa
# A "schema comprising four musical types: 'primitive' or 'tribal'; 'elite' or 'art'; 'folk'; and 'popular'. Usually...folk music is 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." Cecil Sharp (1907)?, A.L. Lloyd (1972).
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# "Cultural processes rather than abstract musical types...''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'." Redfield (1947) and Dundes (1965).
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# Less prominent, "a rejection of rigid boundaries, preferring a conception, simply of varying practice within ''one'' field, that of 'music'."
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|subdivision_type = [[List of countries|Country]]
|subdivision_name = [[Image:Flag of the United States.svg|20px]] [[United States]]
|subdivision_type1 = [[Political divisions of the United States|State]]
|subdivision_name1 = [[Image:Flag of Iowa.svg|20px]] [[Iowa]]
|subdivision_type2 = [[List of counties in Iowa|County]]
|subdivision_name2 = [[Delaware County, Iowa|Delaware]]
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|leader_title = Mayor
|leader_name = Milt Kramer
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|area_total_km2 = 10.7
|area_land_km2 = 10.7
|area_water_km2 = 0.0
|area_total_sq_mi = 4.1
|area_land_sq_mi = 4.1
|area_water_sq_mi = 0.0


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Folk songs are commonly seen as songs that express something, about a way of life that exists now or existed in the past or about to disappear (or in some cases, to be preserved or somehow revived). 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.<ref>Middleton 1990, p.127</ref>
|population_as_of = [[United States Census, 2000|2000]]
|population_footnotes =
|population_total = 5257
|population_density_km2 = 491.9
|population_density_sq_mi = 1274.0


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[[Gene Shay]], co-founder and host of the [[Philadelphia Folk Festival]], defined ''folk music'' in an April 2003 interview by saying: "In the strictest sense, it's music that is rarely written for [[profit]]. It's music that has endured and been passed down by [[oral tradition]]. [...] Also, what distinguishes folk music is that it is participatory&mdash;you don't have to be a great musician to be a folk singer. [...] And finally, it brings a sense of community. It's the people's music."
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|elevation_ft = 942
|latd = 42 |latm = 29 |lats = 10 |latNS = N
|longd = 91 |longm = 27 |longs = 26 |longEW = W


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Recent research has suggested that the "folk process" may not be so simple to distinguish from other popular music processes. Early folk music was often written down and transformed by experts, even though they may have been amateurs.
|postal_code_type = [[ZIP code]]
|postal_code = 52057
|area_code = [[Area code 563|563]]
|blank_name = [[Federal Information Processing Standard|FIPS code]]
|blank_info = 19-48810
|blank1_name = [[Geographic Names Information System|GNIS]] feature ID
|blank1_info = 0458752
|website = http://www.manchester-ia.org
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}}
'''Manchester''' is a city in [[Delaware County, Iowa|Delaware County]], [[Iowa]], [[United States]]. The population was 5,257 at the 2000 census. As of the 2005 population estimates, Manchester's population was 5,052. It is the [[county seat]] of [[Delaware County, Iowa|Delaware County]]{{GR|6}}. It is considered the primary center of science and industry, due to the thriving technological district and advances in biological research.


==Geography==
Some consider "folk music" simply music that a (usually) local population can - and does - sing along to. Much modern popular music over the past few decades falls into this category. Jack Knight, a modern songwriter, defines a "folk song" as any song that when played or performed gets people's lips moving in unison. Jazz musician [[Louis Armstrong]] and blues musician [[Big Bill Broonzy]] have both been attributed with the remark, "All music is folk music. I ain't never heard a horse sing a song."
Manchester is located at {{coor dms|42|29|10|N|91|27|26|W|city}} (42.486046, -91.457227){{GR|1}}.


According to the [[United States Census Bureau]], the city has a total area of 4.1&nbsp;[[square mile]]s (10.7&nbsp;[[km²]]), of which, 4.1&nbsp;square miles (10.7&nbsp;km²) of it is land and 0.04&nbsp;square miles (0.1&nbsp;km²) of it (0.48%) is water.
The terminology used for the [[Grammy Award]]s first included the word "folk" in 1959. In 1970 this was changed to "Ethnic or Traditional", to make a distinction from protest song or singer-songwriter. The phrase "singer-songwriter" has never been used by them. Instead they have used the phrase "male pop vocal" to include everything from James Taylor to Stevie Wonder. In 1969 the "Songwriters Hall of Fame" was set up. Their website identifies the [[Brill Building]] songwriters as the earliest singer-songwriters. In Europe, however, there is some awareness that [[Jacques Brel]] was an important pioneer of angst-ridden confessional songs, years before [[Carole King]] was successful.


==Demographics==
==Classical and folk==
As of the [[census]]{{GR|2}} of 2000, there were 5,257 people, 2,167 households, and 1,397 families residing in the city. The [[population density]] was 1,274.0 people per square mile (491.5/km²). There were 2,315 housing units at an average density of 561.0/sq&nbsp;mi (216.4/km²). The racial makeup of the city was 98.99% [[White (U.S. Census)|White]], 0.10% [[African American (U.S. Census)|African American]], 0.15% [[Native American (U.S. Census)|Native American]], 0.27% [[Asian (U.S. Census)|Asian]], 0.04% [[Pacific Islander (U.S. Census)|Pacific Islander]], 0.06% from [[Race (United States Census)|other races]], and 0.40% from two or more races. [[Hispanic (U.S. Census)|Hispanic]] or [[Latino (U.S. Census)|Latino]] of any race were 0.82% of the population.


There were 2,167 households out of which 31.7% had children under the age of 18 living with them, 52.3% were [[Marriage|married couples]] living together, 9.3% had a female householder with no husband present, and 35.5% were non-families. 31.6% of all households were made up of individuals and 15.4% had someone living alone who was 65 years of age or older. The average household size was 2.36 and the average family size was 2.99.
There was a vogue for folk music during the start of the Romantic period. One of the first to use it was Josef Haydn (see [[Haydn and folk music]]). Beethoven made arrangements of Irish, Welsh and Scottish folk songs (over 150 settings) (see [[List of compositions by Ludwig van Beethoven]]). Later composers used the material more liberally. Liszt, Brahms, Bruch, Tchaikovsky and Dvorak wrote folk dances that are often indistinguishable from tunes that come from the authentic tradition. Percy Grainger particularly enjoyed Morris dance tunes, and made many keyboard settings of them. Ralph Vaughan Williams made choral arrangement of English folk songs. Holst composed pseudo-folk dance tunes, as did Malcolm Arnold. Benjamin Britten made voice-and-piano arrangements of folk songs, though the chromatic harmonisation probably makes them hard for a folk enthusiast to enjoy. Using early types of recording equipment Bartok and Grainger made field recordings of folk singers and musicians. Bartok also arranged Magyar dances for keyboard, though they tend to be remote from the originals.


In the city the population was spread out with 26.2% under the age of 18, 7.6% from 18 to 24, 26.6% from 25 to 44, 19.6% from 45 to 64, and 20.0% who were 65 years of age or older. The median age was 38 years. For every 100 females there were 87.5 males. For every 100 females age 18 and over, there were 82.4 males.
==Folk revivals==
{{main|Roots revival}}
{{see also|American folk music revival}}


The median income for a household in the city was $31,099, and the median income for a family was $39,219. Males had a median income of $33,506 versus $17,990 for females. The [[per capita income]] for the city was $18,811. About 8.4% of families and 9.8% of the population were below the [[poverty line]], including 12.0% of those under age 18 and 10.5% of those age 65 or over.
As folk traditions decline, there is often a conscious effort to resuscitate them. Such efforts are often exerted by bridge figures such as [[Jean Ritchie]]. Folk revivals also involve collaboration between traditional folk musicians and other participants (often of urban background) who come to the tradition as adults.


The folk revival of the 1950s in Britain and America had something of this character. In 1950 [[Alan Lomax]] came to [[United Kingdom|Britain]], where at a Working Men's Club in the remote [[County Durham]] mining village of Tow Law he met two other seminal figures: [[A.L. Lloyd|A.L.'Bert' Lloyd]] and [[Ewan MacColl]], who were performing folk music to the locals there. Lloyd was a colourful figure who had travelled the world and worked at such varied occupations as sheep-shearer in [[Australia]] and [[sea shanty|shanty-man]] on a whaling ship. MacColl, born in Salford of Scottish parents, was a brilliant playwright and songwriter who had been strongly politicised by his earlier life. MacColl had also learned a large body of Scottish traditional songs from his mother. The meeting of MacColl and Lloyd with Lomax is credited with being the point at which the British [[roots revival]] began. The two colleagues went back to London where they formed the Ballads and Blues Club which eventually became renamed the Singers' Club and was possibly the first of what became known as [[folk clubs]]. It closed in 1991. As the 1950s progressed into the 1960s, the folk revival movement built up in both Britain and America. It is sometimes claimed that the earliest folk festival was the Mountain Dance and Folk Festival, 1928, in Asheville, Carolina, founded by [[Bascom Lamar Lunsford]]. Sidmouth Festival began in 1954, and Cambridge Folk Festival began in 1965.

[[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.

==Eastern Europe==
{{main|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 many times from about 1937 to 1990, and less frequently thereafter. The best known were the [[Red Army Choir]] and dancers. They recorded many albums. From Bulgaria, an all-female choir from Bulgarian State Radio sold albums around Europe. The first and most famous was "[[Bulgarian State Television Female Vocal Choir|Le Mystere des Voix Bulgares]]" which even gained a certain chic after being promoted by British DJ John Peel. In [[Hungary]], the group [[Muzsikás]] and the singer [[Márta Sebestyén]] became known throughout the world due to their numerous American tours and their participation in the Hollywood movie ''[[The English Patient (film)|The English Patient]]'' and Sebestyén's work with the [[Deep Forest]] band.

Another example is the Hungarian model, the ''[[táncház]]'' movement. This model involves strong cooperation between musicology experts and enthusiastic amateurs, resulting in a strong vocational foundation and a very high professional level. They also had the advantage that rich, living traditions of Hungarian folk music and folk culture still survived in rural areas, but also in Romania (especially Transylvania). The involvement of experts meant an effort to understand and revive folk traditions in their full complexity. Music, dance, and costumes remained together as they once had been in the rural communities: rather than merely reviving folk music, the movement revived broader folk traditions. Started in the 1970s, ''tanchaz'' soon became a massive movement creating an alternative leisure activity for youths apart from discos and music clubs&mdash;or one could say that it created a new kind of music club. The ''tanchaz'' 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.

==Balkans==
[[Image:Tanec folk ensemble Macedonia 1.jpg|thumb|[[Tanec]], [[Republic of Macedonia]]]]
{{main|Balkan music}}
The [[Balkan music|Balkan folk music]] is a type of folk music distinct from others in Europe. This is mainly because it was influenced by traditional music of the Balkan ethnic groups and mutual music influences of this ethnic groups in the period of [[Ottoman Empire]]. The music is sometimes characterised by complex rhythm. It comprises the music of:
[[Music of Bosnia and Herzegovina|Bosnia and Herzegovina]], [[Music of Croatia|Croatia]], [[Music of Greece|Greece]], [[Music of Montenegro|Montenegro]], [[Music of Serbia|Serbia]], [[Music of the Republic of Macedonia|Republic of Macedonia]], [[Music of Albania|Albania]], [[Music of Turkey|Turkey]] and other countries including the historical states such as the Ottoman Empire, [[Music of Yugoslavia|Yugoslavia]] or the [[Music of Serbia and Montenegro|State Union of Serbia and Montenegro]] and the geographical regions such as [[Music of Thrace|Thrace]]. An important part of the whole Balkan folk music is the music of the local [[Romani music|Romani]] ethnic minority.
<!--stop listing your favourite singers here, its not your private website. If you insist on mentioning specific artists, please provide sourced info on their notability as true exponents of the genre OR at least a convincing rationale. Moreover, this section covers the whole Balkans not a single country-->

==The emergence of popular folk artists==
During the twentieth century, a crucial change in the history of folk music began. Folk material came to be adopted by artists who marketed themselves more widely alongside other popular artists; they performed traditional music and songs in amplified concerts, and disseminated their work by recordings and broadcasting. In other words, a new genre of [[popular music]] had arisen. This genre was linked by nostalgia and imitation to the original traditions of folk music as it was sung by ordinary people. However, as a popular genre it quickly evolved to be quite different from its original roots.

The rise of folk music as a popular genre began with performers whose own lives were rooted in the authentic folk tradition. Thus, for example, [[Woody Guthrie]] began by singing songs he remembered his mother singing to him as a child. Later, in the 1930s and 1940s, Guthrie collected folk music and also composed his own songs, as did [[Pete Seeger]], who was the son of a professional [[musicologist]]. Through dissemination on commercial recordings, this vein of music became popular in the United States during the 1930s ([[Jimmie Rodgers (country singer)|Jimmie Rodgers]]), the 1940s ([[Burl Ives]]), but more significantly, in the 1950s, through singers like [[the Weavers]] (Seeger's group), [[Harry Belafonte]], [[The Kingston Trio]], and [[The Limeliters]], who tried to reproduce and honor the work that had been collected in preceding decades. The commercial popularity of such performers probably peaked in the U.S. with the ''[[Hootenanny (US TV series)|Hootenanny]]'' television series<ref>[http://www.tvtome.com/Hootenanny/ http://www.tvtome.com/Hootenanny/] ''TVtome.com'' Retrieved on 05-03-07 </ref> and the associated magazine ''[[Linda Solomon|ABC-TV Hootenanny]]'' in 1963–1964, which was cancelled after the arrival of the Beatles, the "British invasion" and the rise of [[folk rock]].

The itinerant folksinger lifestyle was exemplified by [[Ramblin' Jack Elliott]], a disciple of Woody Guthrie who in turn influenced [[Bob Dylan]]. Sometimes these performers would locate scholarly work in libraries and revive the songs in their recordings, for example, in [[Joan Baez]]'s rendition of "Henry Martin", which adds a [[guitar]] accompaniment to a version collected and edited by Cecil Sharp. Publications like ''[[Sing Out!]]'' magazine helped spread both traditional and composed songs, as did folk-revival-oriented record companies. Although forever associated with folk/protest music of the 1960s, Bob Dylan never thought of himself solely as a folk musician.

Folk music is easily identified with the ordinary working people who created it, and preserving treasured things against the claimed relentless encroachments of [[capitalism]] is likewise a goal of many politically progressive people. Thus, in the 1960s such singers as Baez, Dylan, [[Phil Ochs]], and [[Tom Paxton]], followed in [[Woody Guthrie|Guthrie's]] footsteps and to begin writing "[[protest song|protest music]]" and [[topical song]]s, particularly against the [[Vietnam War]], and likewise expressed in song their support for the [[American Civil Rights Movement (1955-1968)|American Civil Rights Movement]]. The influential Welsh-language singer-songwriter, [[Dafydd Iwan]], may also be mentioned as a similar example operating in a different cultural context. Some critics, especially proponents of the ethnocentric [[Neofolk]] genre, claim that this type of American 'progressive' folk is not folk music at all, but 'anti-folk'.{{Fact|date=June 2008}} This is based on the idea that as liberal politics supposedly eschews the importance of ethnicity, it is incompatible with all [[folkish]] traditions.{{Fact|date=June 2008}} Proponents of this view often cite [[romantic nationalism]] as the only political tradition that 'fits' with folk music.{{Fact|date=June 2008}}

Simultaneous to the American folk movement was the Canadian folk movement, exemplified by artists [[Gordon Lightfoot]], [[Leonard Cohen]], and [[Joni Mitchell]], all three of whom would become the only singers to receive an [[Order of Canada]], and all of whom would achieve varying degrees of lasting international success.

In [[Ireland]], [[The Clancy Brothers & Tommy Makem]] (although the 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]] and a variety of other folk bands have done much over recent years to revitalise and re-popularise [[Folk music of Ireland|Irish traditional music]]. These bands were rooted, to a greater or lesser extent, in a living tradition of Irish music, and they benefited from collection efforts on the part of the likes of [[Seamus Ennis]] and [[Peter Douglas Kennedy|Peter Kennedy]], among others.

In the [[United Kingdom]], the folk revival didn’t create any popular stars (although [[Ewan MacColl]]'s “The First Time Ever I Saw Your Face” would eventually prove to be a hit for other artists), but it helped raise the profile of the music, and folk clubs sprang up all over, a boon to young artists like [[Martin Carthy]] and [[Roy Bailey (folk singer)|Roy Bailey]] who emerged. It also inspired a generation of singer-songwriters, such as [[Bert Jansch]], [[Ralph McTell]] (whose “Streets Of London” would become a hit), [[Donovan]], [[Roy Harper]] and many others. Bob Dylan came to London to check out the growing folk scene of the early 1960s, [[Paul Simon]] spent several months there and Tom Paxton stayed even longer; Simon's version of “Scarborough Fair” owed a lot to Carthy's take on the song.

Also in the UK, the [[electric folk]] groups of [[Fairport Convention]] and [[Steeleye Span]] took old songs and mixed their tunes with rock. Both bands had [[hit single]]s and albums that sold well, bringing a new audience to traditional music.

The revival of the fifties and sixties had mostly died out by 1975. There was another revival in the second half of the 1990s. Once more folk music made an impact on mainstream music. There was a younger generation of artists, in some cases children of revival-inspired artists; ([[Eliza Carthy]], for example, is the daughter of Martin Carthy and [[Norma Waterson]]). This time, notably, the instrumentation was largely acoustic, rather than electric. The skill level of players and singers was as high as before. As the number of summer folk festivals increased, so more talented performers have come in, and folk music has found at least a toehold in the mainstream with artists like [[Kate Rusby]] and [[Spiers and Boden]] featured in the press.

===The blending of folk and popular genres===
The experience of the 20th century suggests that as soon as a folk tradition comes to be marketed as popular music, its musical content will quickly be modified to become more like popular music. Such modified folk music often incorporates [[electric guitar]]s, [[drum kit]], or forms of rhythmic [[syncopation]] that are characteristic of popular music but were absent in the original.

One example of this sort is contemporary [[country music]], which descends ultimately from a rural American folk tradition, but has evolved to become vastly different from its original model. [[Hip hop music|Rap]] music evolved from an African-American inner-city folk tradition, but is likewise very different nowadays from its folk original. A third example is contemporary [[Bluegrass music|bluegrass]], which is a professionalised development of American [[old time music]], intermixed with [[blues]] and [[jazz]].

Sometimes, however, the exponents of amplified music were bands such as [[Fairport Convention]], [[Pentangle (band)|Pentangle]], [[Alan Stivell]], [[Mr. Fox]] and [[Steeleye Span]] who saw the electrification of traditional musical forms as a means to reach a far wider audience, and their efforts have been largely recognised for what they were by even some of the most die-hard of purists. But if this may be true for some, for others, it's a musical concept by itself to build new kinds of music (as is the case for [[Alan Stivell]]. Traditional folk music forms also merged with [[rock and roll]] to form the hybrid generally known as [[folk rock]] which evolved through performers such as [[The Byrds]], [[Simon and Garfunkel]] and [[The Mamas and the Papas]]. Since the 1970s a genre of "contemporary folk", fueled by new singer-songwriters, has continued to make the coffee-house circuit and keep the tradition of acoustic non-classical music alive in the United States. Such artists include [[Chris Castle]], [[Steve Goodman]], and [[John Prine]]. While from London [[The Pogues]] and Ireland [[The Corrs]] brought traditional tunes back into the [[album]] charts.

In the 1980s a group of artists like [[Phranc]] and [[The Knitters]] propagated a form of folk music also called [[country punk]], [[cowpunk]] or [[folk punk]], which eventually evolved into [[alt country]]. More recently the same spirit has been embraced and expanded on by performers such as [[Dave Alvin]], [[Miranda Stone]] and [[Steve Earle]]. At the same time, a line of singers from [[Joan Baez]] to [[Tom Paxton]] have continued to use traditional forms for original material.

The appropriation of folk has even continued into [[hard rock]] and [[heavy metal music|heavy metal]], with bands such as [[Korpiklaani]], [[Skyclad (band)|Skyclad]], [[Waylander (band)|Waylander]] and [[Finntroll]] melding distinctive elements of folk styles from a wide variety of traditions, including in many cases traditional instruments such as [[Musical styles (violin)#Fiddle|fiddles]], [[tin whistle]]s, [[accordions]] and [[bagpipes]] as an element of their sound. Unlike other folk-related genres, [[folk metal]] shies away from monotheistic religion in favour of more ancient [[Paganism|pagan]] inspired themes. Folk inspirations are a massive part of subgenres of [[black metal]], with genres such as [[viking metal]] being defined on their folk stance, and many a band incorporating folk interludes into albums (eg, [[Bergtatt]] and [[Kveldssanger]], the first two albums by once-black metal, now-[[experimental music|experimental]] band [[Ulver]]). There is also a Metal band that uses medieval instruments along with guitars.

A similar stylistic shift, without using the "folk music" name, has occurred with the phenomenon of [[Celtic music]], which in many cases is based on an amalgamation of [[Folk music of Ireland|Irish traditional music]], [[Music of Scotland|Scottish traditional music]], and other traditional musics associated with lands in which [[Celtic language]]s are or were spoken (a significant research showing that the musics have any genuine genetic relationship is still to be done - at this point, only a book in French written by [[Alan Stivell]] studies a bit the subject of Celtic Music-); so [[Breton music]] and [[Galician music]] are often included in the genre).

Most [[filk music]] can also be considered folk music both stylistically and culturally (though the 'community' it arose from, [[science fiction fandom]], is an unusual and thoroughly modern one).<ref>[http://www.filkontario.ca/BSCHspeeches.htm|Filk Hall of Fame acceptance speeches by Sally and Barry Childs-Helton]</ref>

[[Neofolk]] music is a modern form of music that began in the 1980s. Fusing traditional European folk music with [[post-industrial (music)|post-industrial]] music forms, historical topics, philosophical commentary, traditional songs and [[paganism]], the genre is largely European. Although it is not uncommon for neofolk artists to be entirely acoustic, playing with entirely traditional instruments.

Another trend is "anti-folk", begun in New York City in the 1980s by [[Lach]] in response to the "confined" [[American folk music revival]]. It 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, and artists continue to push the envelope of "folk."

The [[Contemporary Christian Music]] scene has also been emerging with its own form of folk singers, including [[David M. Bailey]], the [[Smalltown Poets]] and others.

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, eg the [[Port Fairy Folk Festival]] is a major annual event in Australia attracting top international folk performers as well as many local artists. Indeed, even for those who consider themselves hip, the arrival of [[Americana]] and [[Naturalismo]] including the music of [[Will Oldham|Bonnie "Prince" Billy]], [[Devendra Banhart]], Tin Pan Caravan, Moses Atwood and many others have shown that folk music can still be cutting edge.

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.

In Germany [[Ougenweide]] is a well-known folk band.

==Pastiche and parody==
[[Popular culture]] sometimes creates [[pastiche]]s of folk music for its own ends. One famous example is the pseudo-ballad sung about brave Sir Robin in the film ''[[Monty Python and the Holy Grail]]''. Enthusiasts for folk music might properly consider this song to be pastiche and not [[parody]], because the tune is pleasant and far from inept, and the topic being lampooned is not balladry but the medieval heroic tradition. The arch-shaped melodic form of this song (first and last lines low in pitch, middle lines high) is characteristic of traditional English folk music. A more recent similarly incisive send-up of folk music, this time American in origin, is the film ''[[A Mighty Wind]]'' by [[Christopher Guest]] and [[Eugene Levy]].

In the [[magazine]] ''fRoots'' there was a long-running [[parody]] of [[the English Folk Dance and Song Society]] (EFDSS). They were called "Dance Earnestly and Forget About Song Society" (DEAFASS). DEAFASS supporters favored the [[accordion]] over the [[melodeon]] and the [[string bass]] over the [[bass guitar|electric bass]].

Another instance of pastiche is the notoriously well-known theme song for the television show ''[[Gilligan's Island]]'' (music by [[George Wyle]], lyrics by [[Sherwood Schwartz]]). This tune is also folk-like in character, and in fact is written in a traditional folk [[mode (music)|mode]] (modes are a type of [[musical scale]]); the mode of "Gilligan's Island" is ambiguous between [[Dorian mode|Dorian]] and [[Aeolian mode|Aeolian]]. The lyrics begin with the traditional folk device in which the singer invites his hearers to listen to the tale that follows. Moreover, two of the stanzas repeat the final short line, a common device in English folk stanzas. However, the raising of the key by a semitone with each new verse is an unmistakable trait of [[popular music|commercial music]] and never occurred in the original folk tradition.

Folk music is easy to [[parody]] because it is, at present, a [[popular music]] genre that relies on a traditional music genre. As such, it is likely to lack the sophistication and glamour that attach to other forms of popular music. Folk music satire ranges from the worst excesses of [[Rambling Syd Rumpo]] and [[Bill Oddie]] to the deft and subtle artistry of [[Sid Kipper]], [[Eric Idle]], and [[Tom Lehrer]]. Even "serious" folk musicians are not averse to poking fun at the form from time to time, for example [[Martin Carthy|Martin Carthy's]] devastating rendition of "All the Hard Cheese of Old England" (written by [[Les Barker]]), to the tune of "All the Hard Times of Old England", [[Robb Johnson]]'s "Lack of Jolly Ploughboy", and more recently "I'm Sending an E-mail to Santa" by the [[Yorkshire]]-based harmony group [[Artisan (group)|Artisan]]. Other musicians have been known to take the tune of a traditional folk song and add their own words, often humorous, or on a similar-sounding yet different subject; these include [[The Wurzels]], [[Dr. Busker|The Incredible Dr. Busker]] and [[The Mrs Ackroyd Band]].

[[Filk music]] originated in the 1950s as science fiction and fantasy oriented parodies of popular folk songs. While it eventually developed into a different style of folk music entirely, it still retains its fair share of parodies.

''Folkies'' is the popular term for folk music enthusiasts. While the term itself is neutral and is used by some folk music enthusiasts in an informal and friendly manner, it has at times been used by the [[Mass media|popular press]] at least since the late 1950s, as part of a light-hearted [[beatnik]] stereotype.

==Media==
{{multi-listen start}}
{{multi-listen item|filename=Barbara Allen.ogg|title=Barbara Allen|description=''[[Barbara Allen (song)|Barbara Allen]]'' is a traditional [[folk ballad]]. |format=[[Ogg]]}}
{{multi-listen item|filename=Home on the range.ogg|title=Home on the Range|description=A recording of the song from Raiford Penitentiary, Florida, 1939.|format=[[Ogg]]}}
{{multi-listen item|filename=Dixie (1916).ogg|title="Dixie"|description=1916 Dixie rendition|description=1916 rendition of [[Dixie (song)|Dixie]] by the Metropolitan Mixed Chorus, with [[Frank Stanley]], [[Ada Jones]], [[Billy Murray (singer)|Billy Murray]]|format=[[Ogg]]}}
Songcatcher movie<ref>[http://movies2.nytimes.com/gst/movies/movie.html?v_id=187081 Songcatcher - Trailer - Cast - Showtimes - The New York Times<!-- Bot generated title -->]</ref>

{{multi-listen end}}

==See also==
*[[List of folk music traditions]] — see here for country-specific music traditions

*[[Folk clubs]]
*[[Folk festival]]
*[[Folk instrument]] — a description and list of folk instruments
*[[Folk metal]]
*[[Folk punk]]
*[[Folk rock]]
*[[Indie folk]]
*[[Industrial folk music]]
*[[Roud Folk Song Index]]

==Notes==
{{reflist}}
==References==
==References==
<references />
*Harker, David (1985). ''Fakesong: The Manufacture of British 'Folksong', 1700 to the Present Day'' (1989). A Marxist interpretation. Should be read in conjunction with C.J. Bearman's "Who Were the Folk? The Demography of Cecil Sharp's Somerset Folk Singers." ''The Historical Journal'' (2000), 43: 751-75. Cambridge University Press.
*Lamentations chez les nomades bakhtiari d'Iran, Paris, 2003.
*Middleton, Richard (1990/2002). ''Studying Popular Music''. Philadelphia: Open University Press. ISBN 0-335-15275-9.
*Mills, Isabelle (1974). [http://cjtm.icaap.org/content/2/v2art5.html The Heart of the Folk Song], ''Canadian Journal for Traditional Music''.
*Pegg, Carole (2001). "Folk Music". ''The New Grove Dictionary of Music and Musicians'', edited by Stanley Sadie and John Tyrrell. London: Macmillan.
*Seeger, Charles (1980). Cited in Middleton (2002)
*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.

==Further reading==
*Carson, Ciaran (1997). ''Last Night's Fun: In and Out of Time with Irish Music''. North Point Press.
*Bayard, Samuel Preston. "Prolegomena to a Study of the Principal Melodic Families of British-American Folksong", ''Journal of American Folklore'' (1950), 1-44.
* Bevil, J. Marshall. ''Centonization and Concordance in the American Southern Uplands Folksong Melody: a Study of the Musical Generative and Transmittive Processes of an Oral Tradition'' (Ann Arbor: University Microfilms, International, 1984).
*Bevil, J. Marshall, "Scale in Southern Appalachian Folksong: a Reexamination", ''College Music Symposium'' (1986), 77-91.
* Bevil, J. Marshall. "A Paradigm of Folktune Preservation and Change Within the Oral Tradition of a Southern Appalachian Community, 1916-1986." Read at the 1987 National Convention of the American Musicological Society, New Orleans.
*Cartwright, Garth ''Princes Amongst Men: Journeys with Gypsy Musicians'' (Serpent's Tail, 2005)
*Cowdery, James R. ''The Melodic Tradition of Ireland'' (Kent, OH: Kent State University Press, 1990).
*Jackson, George Pullen. ''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, 1933).
*{{cite web |last=Matthews |first=Scott |title=John Cohen in Eastern Kentucky: Documentary Expression and the Image of Roscoe Halcomb During the Folk Revival |work=[[Southern Spaces]] |date=2008-08-06 |url=http://www.southernspaces.org/contents/2008/matthews/1a.htm}}


==External links==
==External links==
*[http://www.manchester-ia.org City website]
* [http://www.bl.uk/collections/sound-archive/wtm.html The World and Traditional Music section at the British Library Sound Archive]
*[http://www.manchesteriowa.org Chamber of Commerce]
* [http://www.bl.uk/collections/sound-archive/traditional_music.html The Traditional Music in England project, World and Traditional Music section at the British Library Sound Archive]
*[http://www.manchester247.com Local news]
* [http://www.gardensessions.co.uk gardensessions.co.uk] Free internet radio show, free folk downloads, news, reviews, lyrics and all things folk
{{Geolinks-US-cityscale|42.486046|-91.457227}}
* [http://www.mudcat.org The Mudcat Cafe and Digital Tradition song database]
* [http://users.tpg.com.au/sykespj/folkfringes/ Folk Fringes] Top 100 Folk and New Folk albums lists and short reviews
* [http://www.ezfolk.com ezFolk.com] Free folk music MP3s (8000+) and free hosting for folk and acoustic artists. Over 2000 folk artists on site.
*[http://www.thecanadianencyclopedia.com/index.cfm?PgNm=TCE&Params=A1ARTU0001240 An article on folk music from the ''Encyclopedia of Music in Canada'']


{{Delaware County, Iowa}}
{{Folk music}}


[[Category:Folk music|*]]
[[Category:Cities in Iowa]]
[[Category:Folklore]]
[[Category:Delaware County, Iowa]]
[[Category:County seats in Iowa]]


[[fr:Manchester (Iowa)]]
[[ar:موسيقى فولكلورية]]
[[az:Xalq musiqisi]]
[[io:Manchester, Iowa]]
[[ca:Folk]]
[[ia:Manchester, Iowa]]
[[cs:Folk]]
[[ht:Manchester, Iowa]]
[[da:Folkemusik]]
[[nl:Manchester (Iowa)]]
[[de:Folk]]
[[pt:Manchester (Iowa)]]
[[eo:Popola muziko]]
[[vo:Manchester (Iowa)]]
[[fr:Musique folk]]
[[hr:Narodna glazba]]
[[id:Lagu daerah]]
[[is:Þjóðlagatónlist]]
[[it:Musica popolare]]
[[he:פולק]]
[[hu:Népzene]]
[[ms:Lagu Kedaerahan]]
[[nah:Folk]]
[[nl:Folk]]
[[ja:フォークソング]]
[[no:Folkemusikk]]
[[nn:Folkemusikk]]
[[pl:Muzyka folkowa]]
[[pt:Música folclórica]]
[[ro:Muzică folk]]
[[ru:Народная музыка]]
[[simple:Folk music]]
[[sk:Folk]]
[[sl:Ljudska glasba]]
[[fi:Folkmusiikki]]
[[sv:Folkmusik]]
[[uk:Народна музика]]
[[zh:民間音樂]]
[[tr:Halk müziği]]

Revision as of 03:29, 11 October 2008

Manchester, Iowa
City
Nickname(s): 
Captains of Science and Industry
Motto: 
Dolor Pēditum
Location of Manchester, Iowa
Location of Manchester, Iowa
Country United States
State Iowa
CountyDelaware
Government
 • MayorMilt Kramer
Area
 • Total4.1 sq mi (10.7 km2)
 • Land4.1 sq mi (10.7 km2)
 • Water0.0 sq mi (0.0 km2)
Elevation
942 ft (287 m)
Population
 (2000)
 • Total5,257
 • Density1,274.0/sq mi (491.9/km2)
Time zoneUTC-6 (Central (CST))
 • Summer (DST)UTC-5 (CDT)
ZIP code
52057
Area code563
FIPS code19-48810
GNIS feature ID0458752
Websitehttp://www.manchester-ia.org

Manchester is a city in Delaware County, Iowa, United States. The population was 5,257 at the 2000 census. As of the 2005 population estimates, Manchester's population was 5,052. It is the county seat of Delaware CountyTemplate:GR. It is considered the primary center of science and industry, due to the thriving technological district and advances in biological research.

Geography

Manchester is located at 42°29′10″N 91°27′26″W / 42.48611°N 91.45722°W / 42.48611; -91.45722Invalid arguments have been passed to the {{#coordinates:}} function (42.486046, -91.457227)Template:GR.

According to the United States Census Bureau, the city has a total area of 4.1 square miles (10.7 km²), of which, 4.1 square miles (10.7 km²) of it is land and 0.04 square miles (0.1 km²) of it (0.48%) is water.

Demographics

As of the censusTemplate:GR of 2000, there were 5,257 people, 2,167 households, and 1,397 families residing in the city. The population density was 1,274.0 people per square mile (491.5/km²). There were 2,315 housing units at an average density of 561.0/sq mi (216.4/km²). The racial makeup of the city was 98.99% White, 0.10% African American, 0.15% Native American, 0.27% Asian, 0.04% Pacific Islander, 0.06% from other races, and 0.40% from two or more races. Hispanic or Latino of any race were 0.82% of the population.

There were 2,167 households out of which 31.7% had children under the age of 18 living with them, 52.3% were married couples living together, 9.3% had a female householder with no husband present, and 35.5% were non-families. 31.6% of all households were made up of individuals and 15.4% had someone living alone who was 65 years of age or older. The average household size was 2.36 and the average family size was 2.99.

In the city the population was spread out with 26.2% under the age of 18, 7.6% from 18 to 24, 26.6% from 25 to 44, 19.6% from 45 to 64, and 20.0% who were 65 years of age or older. The median age was 38 years. For every 100 females there were 87.5 males. For every 100 females age 18 and over, there were 82.4 males.

The median income for a household in the city was $31,099, and the median income for a family was $39,219. Males had a median income of $33,506 versus $17,990 for females. The per capita income for the city was $18,811. About 8.4% of families and 9.8% of the population were below the poverty line, including 12.0% of those under age 18 and 10.5% of those age 65 or over.

References


External links

Template:Geolinks-US-cityscale

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