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dc.contributor.advisorCourt, Sue
dc.contributor.advisorJohnson, Henry
dc.contributor.authorBurns, Robert G. H.
dc.date.available2010-12-09T03:09:18Z
dc.date.copyright2008
dc.identifier.citationBurns, R. G. H. (2008). Transforming Folk: Innovation and Tradition in English Folk–Rock Music (Thesis, Doctor of Philosophy). University of Otago. Retrieved from http://hdl.handle.net/10523/451en
dc.identifier.urihttp://hdl.handle.net/10523/451
dc.description.abstractFrom a mixed methodology perspective that includes ethnology, musicology and cultural anthropology, I argue that, despite initial detachment from folk revivalism, English folk–rock has moved closer to aspects of tradition and historical status and has embraced a revivalist stance similar to that of the folk revivals that occurred earlier in the twentieth century. Whereas revivalism often rejects manifestations of mass culture and modernity, I also argue that the early combinations of folk music and rock music demonstrated that aspects of preservation and commercialisation have always co–existed within this hybrid musical style. English folk–rock, a former progressive rock music style, has emerged in the post–punk era as a world music style that appeals to a broad spectrum of music fans and this audience does not regard issues such as maintenance of authenticity and tradition as key factors in the preservation process. Rock music has remained a stimulus for further change in folk music and has enabled English folk–rock to become regarded as popular music by a new audience with diverse musical tastes. When folk music was adapted into rock settings, the result represented a particular identity for folk music at that time. In a similar way, as folk music continues to be amalgamated with rock and other popular music styles, or is performed in musical settings representing new cultures and ethnicities now present in the United Kingdom, it becomes updated and relevant to new audiences. From this perspective, I propose that growth in the popularity of British folk music since the early 1970s can be linked to its performance as English folk–rock, to its connections with culture and music industry marketing and promotion techniques, and to its inclusion as a 1990s festival component presented to audiences as part of what is promoted as world music. Popularity of folk music presented at world music festivals has stimulated significant growth in folk music audiences since the mid–1990s and consequently the UK is experiencing a new phase of revivalism – the third folk revival.en_NZ
dc.language.isoenen_NZ
dc.publisherUniversity of Otago
dc.rightshttp://www.otago.ac.nz/administration/policies/otago003228.htmlen_NZ
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dc.rights.urihttp://www.otago.ac.nz/administration/policies/otago003228.html
dc.subjectEnglishnessen_NZ
dc.subjectfolk–rocken_NZ
dc.subjectfolk musicen_NZ
dc.subjectBritish national identityen_NZ
dc.subjecttraditionen_NZ
dc.subjectrock musicen_NZ
dc.subjectmusic innovationen_NZ
dc.subjectmusical changeen_NZ
dc.subjectprogressive rocken_NZ
dc.subjectBritish folk movementen_NZ
dc.subjectGreat Britainen_NZ
dc.subjecthistory and criticismen_NZ
dc.subjectpopular musicen_NZ
dc.titleTransforming Folk: Innovation and Tradition in English Folk–Rock Musicen_NZ
dc.typeThesis
dc.typeThesis
dc.date.updated2010-12-09T02:30:09Z
thesis.degree.disciplineMusicen_NZ
thesis.degree.nameDoctor of Philosophyen_NZ
thesis.degree.grantorUniversity of Otagoen_NZ
thesis.degree.levelDoctoral Thesesen_NZ
otago.interloanyesen_NZ
otago.openaccessAbstract Only
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