Singing from the Floor: A History of British Folk Clubs by J. P. Bean

By J. P. Bean

In smoky rooms above pubs, naked rooms with battered stools and beer-stained tables, the place the degree was once little greater than a scrap of carpet and sound structures have been exceptional, an acoustic revolution happened in Britain within the Nineteen Fifties and '60s. This used to be the folks revival, the place a new release of musicians, between a lot drink and raucous cheer, could rediscover the local songs in their personal culture, in addition to the folks and blues coming from around the Atlantic via artists akin to Leadbelly, Woody Guthrie and large invoice Broonzy.

Singing from the ground is the tale of this outstanding move, faithfully captured within the voices of these who shaped it by means of JP Bean. We pay attention from luminaries corresponding to Shirley Collins, Martin Carthy, Peggy Seeger and Ralph McTell, along figures reminiscent of Billy Connolly, Jasper Carrott and Mike Harding, who begun their careers at the folks circuit. The e-book charts the revival's improvised beginnings and its ties to the CND move, during the heyday of the '60s and '70s, whilst each college, city and plenty of villages around the kingdom boasted a folks membership, to the fallow years of the '80s and '90s.

The ebook finishes on a excessive word, with the hot resurgence of curiosity in folks, via such artists because the Lakemans, Sam Lee and Eliza Carthy. it's a joyous, boisterous and highly interesting booklet, and an important rfile of our contemporary heritage stretching into the past.

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Literary Awards
Samuel Johnson Prize for Non-Fiction Nominee for Longlist (2010)

Extra info for Singing from the Floor: A History of British Folk Clubs

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Der anzügliche Text muß ja, bevor er vermutlich als Einzelblatt gedruckt wurde, abgesprochen und genehmigt worden sein – anderenfalls wäre für die Künstler das Risiko viel zu hoch gewesen, anstatt honoriert zu werden in Ungnade zu fallen! Es wird deutlich, wie wenig wir trotz vieler Detailforschung über Lebensgefühl und Umgangsformen der Zeit wissen. (Als Bach in der um 1712 entstandenen Jagd-Kantate Verse des Weimarer Hofdichters Salomon Franck zum Geburtstag des Herzogs Christian von SachsenWeissenfels zu vertonen hatte, war er genötigt gewesen, diesen im Sinne totaler Devotion als Pan seines Landes zu feiern, das ohne ihn einer Totenhöhle gleiche; nämlicher Christian wirtschaftete das Land freilich so herunter, daß ihm eine kaiserliche Kommission zur Finanzverwaltung vor die Nase gesetzt werden mußte.

Daß Picander den Text nicht ohne Vorlage gedichtet, Bach ihn nicht Spuren eines Einzelgängers: Die Bauernkantate 31 ohne eine solche komponiert hat, liegt nahe, wenn man den altertümlichen Zug von Wort und Weise beachtet. ) Und daß ihr’s alle wißt wird von Philipp Spitta27 im Anschluß an die schon erwähnte Tanzschule als Paysanne, also Bauern- oder Rüpel-Tanz, bezeichnet; als Grundlage des Textes vermutet er ein Studentenlied. – Das abschließende Duett ist in Symmetrie zu dem einleitenden als Bourrée komponiert.

Diese aus dem Volksmusizieren bekannte Struktur basiert auf allgemein menschlichen Kommunikationsformen: Dasselbe – die Folge der Ritornelle – wird unterbrochen von dem immer Neuen – den unterschiedlichen Solo-Episoden; dem gemeinsamen Tun Aller steht die Aktion der Einzelnen gegenüber, die auf der Basis solcher Gemeinsamkeit ihren individuellen Beitrag leisten; dies entspricht einem Heraustreten aus dem Kreis, einem Zurücktreten in den Kreis usw. Indessen werden diese Prinzipien in der Vivaldischen Konzertform aus ihrem usuellen Kontext gelöst; außerdem wird die Form dynamisiert: Zumindest in den Kopfsätzen, aber auch in vielen Finali, gibt es – im Großen wie im Kleinen – wirkungsvoll disponierte Steigerungen.

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