England’s Folk Revival and the Problem of Identity in Traditional Music

Out of Stock

Other available formats

Part 1: The Problem of Identity in Traditional Music
Chapter 1: Epistemologies of Identity in Traditional Music
Chapter 2: Epistemologies of Identity in England's Folk Revival
Chapter 3: The Philosophy of Gilles Deleuze and Felix Guattari and its Value for Rethinking Traditional Music
Chapter 4: The Conceptual Territory of Nationalism and the Territorialization of Traditional Music
Part 2: Majoritarian Identities and Minor Musics in England's Folk Revival
Chapter 5: Nationalism, Regionalism, Globalism and the Infinite Regress of Identity in Minor Musics
Chapter 6: Songs of the West: English Folk Music and the Celtic Imaginary
Chapter 7: Songs of the Open Road: Gypsy, Roma and Traveller Music and the Interculturality of English Traditions
Chapter 8: Music of the Waters: English Sea Chanties and the Black Atlantic
Part 3: Traditional Music, Affect and the Folding of Dividual Subjectivities
Chapter 9: Frank Kidson: Vital Melodies and the Intensity of History
Chapter 10: Lucy Broadwood: Collecting Beautiful Mysteries
Part 4: Evolutionary Thought and the Rhizomatic Production of Traditional Music
Chapter 11: Lines and Lineages: Arborescent Evolutionary Theories of Traditional Music
Chapter 12: From Chaos to Song: Towards a Rhizomatic Evolutionary Theory of Traditional Music

About
Explore

About

Establishing an intersection between the fields of traditional music studies, English folk music history and the philosophy of Gilles Deleuze and Félix Guattari, this book responds to the problematic emphasis on cultural identity in the way traditional music is understood and valued.

Williams locates the roots of contemporary definitions of traditional music, including UNESCO-designated intangible cultural heritage, in the theory of English folk music developed in 1907 by Cecil Sharp. Through a combination of Deleuzian philosophical analysis and historical revision of England’s folk revival of the Victorian and Edwardian eras, Williams makes a compelling argument that identity is a restrictive ideology that runs counter to the material processes of traditional music’s production. Williams reimagines Sharp’s appropriation of Darwinian evolutionary concepts, asking what it would mean today to say that traditional music ‘evolves’, in light of recent advances in evolutionary theory. The book ultimately advances a concept of traditional music that eschews the term’s long-standing ontological and axiological foundations in the principle of identity.

For scholars and graduate students in musicology, cultural studies, and ethnomusicology, the book is an ambitious and provocative challenge to entrenched habits of thought in the study of traditional music and the historiography of England’s folk revival.

Book

Other available formats

Contents

Download queue