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Folk Song

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A consistent definition of traditional folk music is elusive. The terms folk music, folk song, and folk dance are comparatively recent expressions. They are extensions of the term folklore, which was coined in 1846 by the English antiquarian William Thomas to describe "the traditions, customs, and superstitions of the uncultured classes." The term is further derived from the German expression Volk, in the sense of "the people as a whole" as applied to popular and national music by Johann Gottfried Herder and the German Romantics over half a century earlier. Traditional folk music also includes most indigenous music.
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. Folk music may tend to have certain characteristics[2] but it cannot clearly be differentiated in purely musical terms. One meaning often given is that of "old songs, with no known composers", another is that of music that has been submitted to an evolutionary "process of oral transmission.... the fashioning and re-fashioning of the music by the community that give it its folk character."
Such definitions depend upon "(cultural) processes rather than abstract musical types...", upon "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'." One widely used definition is simply "Folk music is what the people sing".
For Scholes, as well as for Cecil Sharp and Béla Bartók, there was a sense of the music of the country as distinct from that of the town. Folk music was already, "...seen as the authentic expression of a way of life now past or about to disappear (or in some cases, to be preserved or somehow revived)," particularly in "a community uninfluenced by art music" and by commercial and printed song. Lloyd rejected this in favour of a simple distinction of economic class yet for him true folk music was, in Charles Seeger's words, "associated with a lower class" in culturally and socially stratified societies. In these terms folk music may be seen as part of a "schema comprising four musical types: 'primitive' or 'tribal'; 'elite' or 'art'; 'folk'; and 'popular'."
Music in this genre is also often called traditional music. Although the term is usually only descriptive, in some cases people use it as the name of a genre. For example, the Grammy Award previously used "traditional music" for folk music that is not contemporary folk music.

Throughout most of human prehistory and history, listening to recorded music was not possible. Music was made by common people during both their work and leisure. The work of economic production was often manual and communal. Manual labor often included singing by the workers, which served several practical purposes. It reduced the boredom of repetitive tasks, it kept the rhythm during synchronized pushes and pulls, and it set the pace of many activities such as planting, weeding, reaping, threshing, weaving, and milling. In leisure time, singing and playing musical instruments were common forms of entertainment and history-telling—even more common than today, when electrically enabled technologies and widespread literacy make other forms of entertainment and information-sharing competitive.
Opinions differed on the origins of folk music. Some said it was art music that was changed and probably debased by oral transmission—others said it reflects the character of the race that produced it. Traditionally, the cultural transmission of folk music is through learning by ear, although notation may also be used. The competition of individual and collective theories of composition set different demarcations and relations of folk music with the music of tribal societies on the one hand and of "art" and "court" music on the other. The traditional cultures that did not rely upon written music or had less social stratification could not be readily categorized. In the proliferation of popular music genres, some traditional folk music became also referred to "World music" or "Roots music".
The English term "folklore", to describe traditional folk music and dance, entered the vocabulary of many continental European nations, each of which had its folk-song collectors and revivalists. The distinction between "authentic" folk and national and popular song in general has always been loose, particularly in America and Germany - for example popular songwriters such as Stephen Foster could be termed "folk" in America. The International Folk Music Council definition allows that the term can also apply to music that, "...has originated with an individual composer and has subsequently been absorbed into the unwritten, living tradition of a community. But the term does not cover a song, dance, or tune that has been taken over ready-made and remains unchanged."
The post–World War II folk revival in America and in Britain started a new genre, contemporary folk music and brought an additional meaning to the term folk music. The popularity of "contemporary folk" recordings caused the appearance of the category "Folk" in the Grammy Awards of 1959: in 1970 the term was dropped in favor of "Best Ethnic or Traditional Recording (including Traditional Blues)", while 1987 brought a distinction between "Best Traditional Folk Recording" and "Best Contemporary Folk Recording". After that they had a "Traditional music" category that subsequently evolved into others. The term "folk", by the start of the 21st century, could cover singer song-writers, such as Donovan from Scotland and American Bob Dylan, who emerged in the 1960s and much more. This completed a process to where "folk music" no longer meant only traditional folk music.
L'abe igi orombo
N'ibe l'agbe nsere wa
Inu wa dun, ara wa ya
L'abe igi orombo
Orombo, orombo
Orombo, orombo.


Under the orange tree
Where we play our games
We are happy, we are excited
Under the orange tree

Orange, orange
Orange, orange.

USES OF FOLK SONG 1. It is a source of song that take place at outdoor setting after the daily activities. 2. It collaborate pupils in the society to developed their self belonging 3. It serves as a sources of rejoice i.e (fun) 4. It familiarize pupils in the society to developed their level of intelligence 5. It create awareness for pupils to developed their own interest, love, firmness, justice, pace in each another in the society.

Ruehl, Kim. "Folk Music". definition. Retrieved August 18, 2011. Percy Scholes, The Oxford Companion to Music, OUP 1977, article "Folk Song". A.L.Lloyd, Folk Song in England, Panther Arts, 1969, p. 13. Richard Middleton, Studying Popular Music, Philadelphia: Open University Press (1990/2002). ISBN 0-335-15275-9, p. 127. Ronald D. Cohen Folk music: the basics (CRC Press, 2006), pp. 1–2. International Folk Music Council definition (1954/5), given in Lloyd (1969) and Scholes (1977).
Charles Seeger (1980), citing the approach of Redfield (1947) and Dundes (1965), quoted in Middleton (1990) p.127.
Donaldson, 2011 page 13
A. L. Lloyd, Folk Song in England, Panther Arts, 1969, pp. 14–5.

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