History of Folk Music

Folk music maintains an important image for history and tradition sake, yet where it came from and how it started can only be seen in studies of its relationship to other music. A lot of folk songs have been found and discovered in classical relic books. While Christianity in medieval Europe was more developed and spread, there were many tries to restrain folk songs because of the connections to formality and rituals. However, in some way, the music started to become relevant to the Christian religion and its taste. Later, folk music has been more and more implemented into European illustrated and portrayed art.

During the Renaissance period in the late 15th and 16th centuries, central societal groups accepted folk music as a genre for art and more with respect rather than ancestors in medieval times. Renaissance brought people what they lacked – music and its values and positive attitudes. Their music was not that strong to support eminence of nature and encourage the use of it, but folk music became one of the new things to try out and accept. After the knowledge gathered about it, some of the Renaissance songs presumably were found out to be folk ones due to the absence of complication in written texts. Renaissance songwriters made a considerably major adaption to the folk music genre. Popular songs also include polyphonic context and quodlibets, and a mixture of well-known songs. Folk melodies were greatly exploited for masses and vocal musical compositions.

As the folk music slowly started to fade in the Baroque times (17th to mid-18th century), the connection between folk music and art music developed in the second half of 18th century, when Western rational people started to praise folk music and laborers’ lives. It was thought that music would represent the usual lives and local people’s morale. It became some sort of an impulsive aspect when combining art and consciousness involved theories. The folk culture made everyone think that its characteristics and traits can form sources of art. With that, a higher number of groups and communities engaged in folk music. The activities of art music in the 19th and 20th centuries adjusted by nationalists picked some attention due to their involvement in folk tunes, styles and even dances. The heads in those operations contained Dvořák and Bedrich Smetana for Czech music, Modest Mussorgsky and Mikhail Glinka for Russian, Georges Enesco for Romanian, and Roy Harris and Aaron Copland for American cultures.

Folk tunes are nearly associated with popular music in many ways. A lot of communities, cities and even countries who have favorite world-class music, they have as well folk music culture or some fragments left of it. The limited collections and manners of folk style show that frequently a tune can be described as folk and popular at the same time. Popular music has turned into an outstanding indicator of nation and ethnicity, and folk culture music has begun to sound and demeanor like popular music, written by professionals, played on known radio stations and performed for massive crowds in urbanistic areas of countries.