The English Soundtrack

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Sussex folk song also had a formative effect on one of the major figures of the second revival, as it was as a child of five in Sussex that A. On the other hand, audiences will notice that two songs stand out; those featured in the credits of episodes 1 and 2.

In a process strikingly similar to the origins of British folk rock in the 1960s, the English thrash metal band Skyclad added violins from a session musician on several tracks for their 1990 debut album The Wayward Sons of Mother Earth.Zadok the Priest’ is an energising choral anthem, written by the German-born English composer Handel. Like rock festivals, folk festivals have begun to multiply since the 1990s and there are over a hundred folk festivals or varying sizes held in England every year. These were very different from the styles of dance that collectors like Cecil Sharp had encountered in the Cotswolds and were largely dismissed by him as contaminated by urbanisation, yet they were, and remain, a thriving tradition of music and dance. There was an internationalisation of courtly music in terms of both instruments, such as the lute, dulcimer and early forms of the harpsichord, and in form with the development of madrigals, pavanes and galliards.

Despite this neglect there was an active folk scene in the region, which produced several key artists of the second revival from the 1960s, including Anne Briggs from Nottinghamshire, The Settlers from the West Midlands and from Birmingham one of the most influential groups of the period, the Ian Campbell Folk Group, which numbered among its members later British folk rock musicians Dave Swarbrick and Dave Pegg.The region produced no significant bands in the folk rock movement of the 1970s but can claim one of the most significant figures, as Maddy Prior was brought up in Blackpool. In 2007, the Yorkshire Garland Group was formed to make Yorkshire folk songs accessible online and in schools. Programmatic, tracing the flight of that rising Lark, the work is characterised by ravishing orchestral moments and soaring solo violin writing. M. Chanan, Musica Practica: The Social Practice of Western Music from Gregorian Chant to Postmodernism (London: Verso, 1994), p.