Music of the United Kingdom
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Music from the United Kingdom has achieved great popularity since the 1960s, when a wave of musicians helped to popularise rock and roll. Since then, the UK has produced numerous popular in far-ranging fields from heavy metal to folk rock and drum and bass, as well as undergoing a renaissance in the ancient forms of folk music indigenous to England, Scotland, Wales and Northern Ireland. The United Kingdom has had an influence on modern music worldwide which is disproportionate to its population. Indeed, the United Kingdom has produced many of the world's most influential artists and bands, such as The Beatles, The Clash and The Cure. The Spice Girls is the only girl group to have their first seven singles to hit number 1 in the UK. Their run of number 1 singles ended with Stop, the third single from their second studio album Spiceworld.
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[edit] Folk music
There are four primary components of the United Kingdom, each with their own diverse and distinctive folk music forms - England, Scotland, Wales and Northern Ireland. In addition, there are numerous distinct and semi-distinct folk traditions from the Isle of Man, Cornwall and the Channel Islands, as well as immigrants from Jamaica, India, the Commonwealth and other parts of the world.
[edit] English folk music
Traditional music is an extremely broad concept, as there is much variety between the different regions of England. Folk music varies across Northumbria, Kent, Sussex and Yorkshire, and even within cities like London. England's Martin Carthy was perhaps the most influential traditional English performer of the 20th century, alongside the Copper Family and the Waterson Family, who helped inspire a roots revival later in the century.
[edit] Northern Irish music
Of all the regions of the United Kingdom, Northern Ireland (and its neighbour, the Republic of Ireland) has the most vibrant folk traditions. The popularity of traditional instruments such as fiddles have remained throughout the centuries even as analogues on Great Britain died out. As of recently Northern Ireland has shown some of the most popular talent such as seen by the Bangor band, Snow Patrol and Ash. Such popular legends of Northern Ireland include Van Morrison.
[edit] Scottish folk music
Scottish folk music includes many kinds of songs, including ballads and laments, sung by a single singer with accompaniment by bagpipes, fiddles or harps. Traditional dances include waltzes, reels, strathspeys and jigs. Alongside the other areas of the United Kingdom, Scotland underwent a roots revival in the 1960s. Cathy-Ann McPhee and Jeannie Robertson were the heroes of this revival, which inspired some revolutions in band formats by groups like The Clutha, The Whistlebinkies, Boys of the Lough, Incredible String Band and The Chieftains.
[edit] Welsh folk music
Wales is a Celtic country that features folk music played at twmpathau (communal dances) and gwyl werin (music festivals). Having long been subordinate to English culture, Welsh musicians in the late 20th century had to reconstruct traditional music when a roots revival began. This revival began in the late 1970s and achieved some mainstream success in the UK in the 80s with performers like Robin Huw Bowen, Moniars and Gwerinos.
[edit] Early British popular music
Beginning in the 16th century, printed broadside ballads were the first genre of British popular music. These were lyrics transcribed and eventually printed (after the invention of the printing press) and meant to be sung to some well-known tune. They were popular until the early 20th century, when a combination of newspapers and recording technology made them obsolete.
After the industrial revolution, bars that provided musical entertainment arose, fuelling demand for popular songs and professional songwriters. These bars were called music halls.
[edit] 1950s and 60s: Importation and exportation
The 1950s saw most of the world that had access to records listening to American artists. In the early years the ballads and novelty numbers from the main US recording companies dominated and Britain was reduced to copying - at times note for note and phrase for phrase - the American original. If there is any doubt of this practice, the listener should refer to the US Coral arrangement by Dick Jacobs for Teresa Brewer of 'Ricochet' and then listen to the UK version from Joan Regan. As new companies started to influence the US market - Cadence, Dot, Sun, Abbott and others - music began to change and with the emergence of heavy off-beat music - to be named rock and roll - together with the country music|country-rock hybrid rockabilly, exemplified by superstars like Elvis Presley and Bill Haley the mid and late 50's saw the 'real' music struggle. Presley, Haley and Pat Boone replaced Guy Mitchell, Frankie Laine, Kay Starr and Doris Day in the charts and new young singers were exploited to the full to become overnight sensations (Fabian, Avalon - ref Stan Freburg's 'Old Payola Roll Blues'). Though most countries soon developed their own rock traditions, it was the United Kingdom that evolved its own distinctive scene, making American traditions into distinctively British ones such as skiffle and trad jazz, and eventually adding influences from English, Scottish and Irish folk music. By the middle of the 1960s, British artists had grown so adept at British-style rock, R&B and blues that the British Invasion occurred, led by the Beatles, the Who, the Rolling Stones and the Kinks, among others. Artists began to popularize more authentic forms of American roots music in the States than had previously found mainstream success there, while highly-evolved forms of rock like heavy metal and progressive rock were developing into full-fledged genres of British popular music. British music in the 60s also saw a roots revival of folk music, beginning with England and Northern Ireland before spreading to Scotland, Wales and, eventually, even smaller cultural regions like Cornwall, the Isle of Man and Northumbria.
[edit] 1970s: Progressive rock and heavy metal
In the 1970s, the United Kingdom saw intense diversification in both popular and folk music. Some of the many great bands were T. Rex, Led Zeppelin, Pink Floyd and Queen. Heavy metal evolved from pioneers like T. Rex, Led Zeppelin, Rainbow, Deep Purple, and Black Sabbath into the hard-edged, complex music of bands like Iron Maiden and Judas Priest. Progressive rock grew extremely popular, with ever-increasingly "progressive" elements added in the form of obtuse lyrics, classical-tinged music and long-playing suites in multiple parts. Emerson, Lake & Palmer, Yes, Pink Floyd, King Crimson, Queen, Jethro Tull, Gentle Giant and Genesis are notable examples of this movement. The reaction against progressive rock was swift, as the genre came to be perceived as needlessly obscure and inaccessible; a new generation of British youth hated progressive rock and the bombastic, indulgent sounds of heavy metal, disco and glam. They were called punks, and their music was loud, angry, rebellious punk rock. Punk became well-known after the coming of the Sex Pistols and their anarchistic, incendiary lyrics which attacked the pillars of British society, such as the monarchy. In its purest form, however, it was short-lived; the energy could not be sustained, especially after anti-pop bands like the Clash found mainstream success and became unwilling pop stars. Despite the great decrease in size and popularity, there is still a small punk scene in the UK, and the genre has had a big impact across the musical spectrum. Punk also spawned many subgenres, such as 2 tone, psychobilly, and goth. The 1970s saw tremendous changes in folk music as well, which saw the development of folk rock fusions and powerful singer-songwriter traditions and the evolution of popular forms of folk-based music from the United Kingdom's Jamaican and Indian immigrant communities.
[edit] 1980s
In the 1980s, the spirit of punk rock fuelled a gaggle of new genres that took stylistic elements of punk and added new approaches and influences. The first of these developments was New Wave music, which featured atmospheric accompaniment to dreamy, otherworldly vocals. New Wave was very popular in the early 1980s, while other, less mainstream outgrowths of punk developed underground. These included an ever-increasing number of alternative rock subgenres, including Siouxsie and the Banshees, The Cure and Joy Division's Gothic rock and psychedelic-influenced bands like The Smiths and The Jesus and Mary Chain. The latter was the primary impetus behind the growth of new genres late in the decade, including Madchester and shoegazing, both of which incorporated more pop structures into alternative rock and led to the next decade's Britpop explosion. The 1980s also saw tremendous diversification and modernisation of the sounds of Jamaican and Indian immigrants, especially bhangra, which fused traditional Punjabi music with the burgeoning house music scene. House and allied genres like techno music evolved out of a complex electronic music scene in 1970s United States, but began to grow popular as part of club culture in 80s Britain, where it spawned numerous subgenres like drum n bass.
[edit] 1990s to present: Britpop and techno
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Two genres that remained mostly underground throughout the 80s burst into the mainstream around the middle of the decade. Britpop was a fusion of all the alternative rock stylings of the previous two decades, with a special focus on neo-psychedelia and it began to dominate the charts. In late 80s/early 90s, American acid-house and Detroit techno music made it to the UK.[citation needed] In the early 21st century, the British pop scene revealed a number of pop groups to have combined both the stylings of Britpop along with synthetic qualities of British experimental electronic music. The 2000s also saw the emergence of grime, a unique type of garage/hiphop also influenced by drum and bass and other genres, from the garage scene in urban areas of London. "Indie rock" has become very popular in recent years, but there is no overall dominant genre of music, with young people listening to a wide range of styles. Underground artists and scenes have achieved much greater success with the internet recently.
[edit] See also
| Music of the United Kingdom | ||
|---|---|---|
| History | Nationalities | |
| Early popular music | England | |
| 1950s and 60s | Scotland | |
| 1970s | Wales | |
| 1980s | Ireland | |
| 1990s to present | Caribbean and Indian | |
| Genres: (Samples) Classical - Folk - Hip hop - Opera - Popular - Rock - Jazz | ||
| By year: 1999 - 2000 - 2001 - 2002 - 2003 |
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| Awards | Mercury, BRIT Awards, Gramophone Awards | |
| Charts | UK Singles Chart, UK classical chart, UK Albums Chart | |
| Festivals | Cambridge Folk Festival, Creamfields, Download Festival, Edinburgh International Festival, Eisteddfodd, Glastonbury Festival, Homelands, Isle of Wight Festival, Royal National Mod, The Proms, Reading and Leeds Festivals , T in the Park, V Festival | |
| Media | NME - Melody Maker - Mojo - Q - The Wire - The Gramophone | |
| National anthem | "God Save the Queen" | |
| Regions and territories | ||
| Birmingham - Cornwall - Isle of Man - Manchester - Northumbria - Scotland - Somerset - Wales
Anguilla - Bermuda - Cayman Islands - Gibraltar - Montserrat - Turks and Caicos - Virgin Islands |
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[edit] Samples
Download recording - a 30 second sample of Queen's 1974 hit single "Killer Queen."- Download recording - a 20 second sample of Yes' four-part song "Close to the Edge" recorded in 1972.
- Download recording - "On the Old Kissimmee Prairie" British tune from the Library of Congress' Florida Folklife from the WPA Collections; performed by Bob Hall, Walter van Bass, Ned Hugh Bass and J. C. King with banjos, guitars and violin in Juli, 1940 in Kenansville, Florida
[edit] References
- Mthembu-Salter, Gregory and Peter Dalton. "Lovers and Poets -- Babylon Sounds". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, pp 457-462. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0
- Ritu, DJ. "One Way Ticket to British Asia". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 1: Africa, Europe and the Middle East, pp 83-90. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0
[edit] See also
- List of music festivals in the United Kingdom
- Classical music of the United Kingdom
- Complete UK Hit Singles 1952-2006
- South Wales Music
[edit] External links
- UK Hip Hop Musical Forum
- Official County of Northumbria music resources site
- some traditional sea shanties
- Music DJs UK
- eclect:hyde - an example of a contemporary UK artist blending musical genres (eg electronica with a diverse array of other influences; blues, jazz, ambient, RnB, drum & bass, acoustic, classical, alternative and more)
- British pub songs
[edit] The British Top 100 Singles
| Position | Artist | Song Title | Sales
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|---|---|---|---|
| 1 | Bryan Adams | (Everything I Do) I Do It For You | 5,230,000 |
| 2 | Elton John | Something About The Way You Look Tonight | 4,770,000 |
| 3 | Joy Division | Love Will Tear Us Apart | 3,210,000 |
| 4 | Shaggy | It Wasn't Me | 2,850,000 |
| 5 | Band Aid 20 | Do They Know It's Christmas? | 2,740,000 |
