Folk Music
The Evolution of Folk Music Vocals
By its definition, folk music technically refers to indigenous forms of music created by local, regional or native populations as a way of engaging in cultural expression. This means that at its core, folk music is not intended to command a commercial value nor is it necessarily folk music by definition once a form has been co-opted by an outside culture. However, this is also a definition for folk which has long been rendered obsolete by the aesthetic and vocal qualities that listeners tend to associate with the genre today. This is because the most historically significant instances in which folk music converged with the commercial zeitgeist would come to produce a highly distinctive set of sounds.
Indeed, when we think of folk music, one tends instantly to conjure image of a young Bob Dylan with harmonica rack and guitar, wheezing his half-singing, half-speaking vocal style in Greenwich Village. This iconic vision from the Folk Revival of the 1960s is probably the best bridge that we have to folk influences like the socialist activists of the Almanac Singers and the Weavers, like Delta country folk singers like Mississippi John Hurt or Josh White, or like bluegrass innovators such as the Carter Family. Indeed, Nelson (2010) tells that figures such as "Woody Guthrie, Pete Seeger, and John and Alan Lomax, made a huge impact on folk music in America, one which is still felt today. It is likely that their joint efforts with each other and many others fostered that sense of community which is still present in modern folk music circles." (Nelson, 1)
Together, these figures conveyed a style of folk music that was inherently rustic, accompanied by acoustic guitar and self-consciously unadorned. Vocals were plainspoken, clearly pronounced and rarely reflective of professional polish. These were the voices aimed at representing the proletariat. So as the Cold War veered into the Vietnam War, the swelling protest movement found...
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