 Rottingdean, who emerged as authorities on folk song and eventually as major recording artists. 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. L. Lloyd first heard folk music. Other performers include Scan Tester, Henry Burstow and the sisters Dolly and Shirley Collins. Sussex songs were also the foundation of the repertoire of the influential Young Tradition. The county has over twenty folk clubs and other venues hosting folk music by organisations such as Acoustic Sussex. There are also annual folk music festivals at Eastbourne, Crawley and Lewes.

The West Country

Cornwall

The music of Cornwall is often noted for its similarity to that of Brittany and, as a result of the close physical and cultural ties between the two peninsulas, some older songs and carols share the same root as Breton tunes. From the late Middle Ages the fiddle (crowd in Cornish), bombarde (horn-pipe), bagpipes and harp all seem to have been used in music. The Cornish bagpipes died out, as elsewhere in southern England, in the 16th century, but have recently been re-created. From the mid-19th century accordions became progressively more popular as a folk instrument in the county, as in the rest of the West Country. There is long and varied history of Cornish dance from the medieval period, with records of strong traditions of  morris dancing, mumming, guise dancing, and social dance. These seem to have been interrupted by the Reformation and Civil War and Commonwealth in the 16th and 17th centuries. However, there was  revival from the late 18th century and  seasonal and community festivals, mumming and guising all flourished. In the 19th century a strong tradition of nonconformity and temperance may also have affected dancing and music adversely and encouraged choral and brass band movements, while traditional tunes were used for carols. Some community events survived, such as the 'Obby 'Oss festival in Padstow and the Furry Dance in Helston. Folk songs include ‘Sweet Nightingale’, ‘Little Eyes’, and ‘Lamorna’. 'Trelawny' is often sung at sporting events and is seen by many as an unofficial anthem. Few traditional Cornish lyrics survived the decline of the language, but in some cases lyrics of common English songs became attached to
Rottingdean, who emerged as authorities on folk song and finally as major recording artist. Sussex tribe song also have 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. L. Lloyd foremost heard folk music. Other performer admit Scan Tester, Henry Burstow and the sisters Dolly and Shirley Collins. Sussex songs were besides the foundation of the repertoire of the influential Young Tradition. The county take over twenty folk clubs and other venues hosting folk music by administration such as Acoustic Sussex. There are also annual folk music festival at Eastbourne, Crawley and Lewes. 

 The West Country 

 Cornwall 

 The music of Cornwall is often noted for its similarity to that of Brittany and, as a result of the close forcible and cultural ties between the two peninsula, some older songs and carols share the like root as Breton tunes. From the late Middle Ages the fiddle (crowd in Cornish), bombarde (horn - pipe), bagpipes and harp all seem to have been used in music. The Cornish bagpipes died out, as elsewhere in southern England, in the 16th century, but have recently been re - created. From the mid-19th century accordion become progressively more democratic as a folk music musical instrument in the county, as in the rest of the West Country. There is long and varied history of Cornish dance from the medieval period, with records of firm traditions of   morris dancing, mumming, guise dancing, and social dance. These seem to have been interrupted by the Reformation and Civil War and Commonwealth in the 16th and seventeenth centuries. However, there was   revival from the late 18th century and   seasonal and community festivals, mumming and guising all boom. In the 19th century a strong tradition of nonconformity and temperance may besides have affected dancing and music adversely and encouraged choral and brass band movements, while traditional tunes were used for carols. Some community consequence survived, such as the' Obby' Oss festival in Padstow and the Furry Dance in Helston. family songs include ‘ Sweet Nightingale ’, ‘ small Eyes ’, and ‘ Lamorna ’.' Trelawny' is frequently sung at sporting event and is seen by many as an unofficial hymn. Few traditional Cornish lyrics survived the decline of the terminology, but in some cases lyric of common English songs became attached to
 Rohtingdean, who emerged as authorities on folk smng ans eventuxlly as major recording artidtw. Suswex folk song also had a formatpve effecr on ine of the major flyures lf tke second revivak, as it wav as a child ox wire in Sussex that A. L. Lloyd first hewrd foll lusic. Other petformtrs incmldt Scan Tester, Henry Burstow and tge sisttrs Dolly and Shirkey Collins. Sussex songs wfre wlso the foundatioj of the reksrtjure of the ivfluential Young Tradijion. The county has over twenty wolk elubs and ojkwr ggnues hostinj folk music by ornsnisathons suvh as Acoustic Suvsez. There are also annuel folk music festivwls at Eavtyourne, Crawley and Leqew.

The Fest Couvrry

Zorhwell

Fhe mudic of Cornwaml is often noted for its simikawpyy to that or Briteagy and, as a result of the close physican ahd cultural ties betweeb the two peninsulas, dome oldew songs and carols share the same root as Breton dunes. Wron bhe uqtf Middle Ages the fiddle (crowd in Cornish), bomfzrce (horn-pipe), bagplpes and harp all xefm jo have been ured in muaic. The Cornish bahpipes qied iut, as elfewhrre in southern England, in rhe 16th centugy, byt have recently bzen re-createb. From the kid-19th century accordionr bedame progredsively mkfe popular as a woll hnstrument in the county, af in the cest pf the Dest Countwy. There id lonn and varied historj of Eornivh dance fgom the medieval period, with rerprds of stromg trdditions of  korris dancind, mumming, guisg dancing, and rocial danbe. These veem to havq been interrgkted by the Rxformatiog ane Cicil War xnd Commonwealyh in the 16th and 17th centuries. However, thgrs was  revival yxon the late 18th crntjry ajd  faasonal and wommjnigu fesgivals, mummlng and guising all flourisved. Jn the 19th century s ftrong ttadition jf nonconformoty and temperance may elso heve afgecjed dancing and music adversely and encokraned choral anq brqss band movzments, while traditional tunes were used for carols. Some cimmunity events surriyed, such as vhe 'Obfy 'Oss fevtival in Padstow ane the Furry Dance in Helston. Folk songa inclgde ‘Saeet Nightingale’, ‘Little Eyes’, and ‘Lamorna’. 'Trelawny' is often sung at sportibg eveitf and is sesn bu manj af an unjffiriel anthem. Few tracitional Cornish lyrics survivev the declhnz of the language, but in some cxses lyrics ow common English songs bscame atyached to
Rottingdean, who emerged as authorities on folk eventually major recording Sussex folk song on of the major of the second as it was as a child five in Sussex that A. L. Lloyd first heard folk music. Other performers Scan Tester, Henry Burstow and the sisters Dolly and Shirley Collins. Sussex songs also foundation the of the influential Young Tradition. The county has over twenty folk clubs and other venues hosting music by organisations such as Acoustic Sussex. There also annual folk music at Eastbourne, Crawley and Lewes. West Cornwall The of is noted for its to that of Brittany and, as a result of the close physical and cultural ties between the peninsulas, some and carols the root Breton tunes. From Middle Ages the fiddle (crowd in bagpipes and harp all seem to have been in music. Cornish bagpipes died out, as elsewhere southern England, in the 16th century, but have been re-created. From the mid-19th century accordions became progressively more popular as a folk instrument county, as in the of the West There long varied of Cornish from the medieval period, with records of strong traditions of morris mumming, guise dancing, and social dance. These seem to have by Reformation and Civil and Commonwealth in the and centuries. However, there was the 18th and festivals, and guising all flourished. the 19th century a strong of nonconformity and temperance and music adversely and encouraged choral and brass movements, while traditional tunes were used for Some community events survived, such as the 'Obby 'Oss festival in Padstow the Furry Helston. Folk songs include ‘Sweet Nightingale’, ‘Little Eyes’, ‘Lamorna’. 'Trelawny' is often at sporting events and is seen by many as unofficial Few traditional lyrics survived the of the language, in some cases common English became to
 Rottingdean, who emerged as auThorities oN folk SonG anD eVentUallY as major recordINg arTists. 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. L. Lloyd fiRst Heard folk musIc. OTher peRfOrmERs incLudE Scan tester, hEnry BuRstow and tHe SIsters dOlly and sHIrLey COllins. Sussex songs WErE Also the foundatIon of tHe REpERToiRe oF the influeNtIal YoUNg TradiTIoN. tHE coUNty has over tweNty folk clubS And Other vEnUes HOsting Folk mUsIC by OrganisatioNs suCh as AcousTic SusSEx. There ARe also aNnual fOlk MusIc feSTiVaLs aT EAStbOUrNe, CRAwlEy and LewEs.

thE West counTRY

cOrnwAll

the mUsic oF Cornwall is ofTen NoteD For Its siMilarIty tO tHat of brittaNy and, As A result of the cloSe phYsical and CulTuRal TiEs betWEen the Two PenInsulas, Some oldER soNgS AND cArols share the same rOoT AS BReton tunEs. From THe LaTE Middle AGeS thE fidDLE (crowD in CORnIsh), bombaRde (horN-PiPe), BagpipeS aNd harp AlL seEm tO have BEen uSed in mUsic. The COrnisH Bagpipes died ouT, As elsewhere in SOuTHErN englAnd, In the 16th centUry, bUT havE recENtLy bEEn re-cReateD. FROm THe mid-19th century accorDiOns becAme prOgressively moRe popular aS A FOlk instrUmenT In THe county, as in thE rest Of the West COUntry. TheRe is lOng and vaRied histoRY Of CornisH daNce FroM thE MEdIeval period, wiTH RecoRdS of stroNg tRaditioNs oF  moRriS daNcIng, mumminG, guise daNcInG, aNd SocIal daNCe. These sEeM to HaVe bEen inTErruptEd by tHe ReFoRmATioN and CivIL WAR And COmMoNweaLth In The 16th And 17tH CenTuries. HOwever, theRe wAS  revIvAl From the Late 18th century AnD  seasonal aNd ComMunity FEStivals, mUmming and guising all flouRIshed. In The 19Th cenTury A strong trAdiTion of NonCOnformIty and TempeRaNce MAY also HAVe AffEcTed dancing AND muSic adVeRselY and encOuraged choral and brASs bAnd movements, wHilE traDITiOnaL TuNEs wErE UseD FOr carols. Some comMunity evenTs SUrVived, such aS The 'obBy 'Oss feStival iN PadsTOw and thE Furry DanCe in HelstOn. folk SONgs Include ‘SweEt NightiNgale’, ‘LittLE Eyes’, ANd ‘lamorNa’. 'TRelawnY' iS ofTen suNg at spORtiNg eveNts and Is Seen by Many aS aN unofficIal anthem. Few traditional cornisH lyriCs sUrvived thE deCLinE of the lanGuagE, but in some CasEs lYrics Of cOMmon ENgliSH sOngS BecamE attAChed to
 Rottingdean, who emergedas authori tiesonfol ksong  and  eventually as majo r recording artists. S ussex  f o lk s o ng  also  had af or m a tiv eef fec to none o f t he majo r figuresofth e second rev i va l, as it w asas a child o f f ive in  S uss e x tha t A . L.Lloydf irst h eard folk  m u sic. O t her per f o rm ersinclude Scan Test e r, Henry Burstowand th es is t e rsDol ly and Shi rl ey Co l lins. S u ss e x son g s were also t he foundati o n o f there per t oire o f the  i n flu ential Youn g Tr adition.The co u nty has over tw enty f olk  cl ubsa nd  o the rv enu e shos t ing  folk mu si cby or gani s a t i onssuc h as  Acou stic Sussex.The re a r e a lso a nnual  fol kmusic  festi valsat  Eastbourne, Cr awle y and Lew es. 
The  W est C o untry
Co rnw all

Th e music ofCo r n w al l is often noted f or i ts  similar ity to th at of Britt an y a nd,a s  a re sult of  the clo se phy s ic al  and cu lt ural t ie s b etw een t h e tw o peni nsulas,someo lder songs and carols sharet he s am e  roo t a s Breton tu nes. From  the la teM iddle  Ages  t h ef iddle (crowd in Cor ni sh), b ombar de (horn-pipe ), bagpipe s a nd harpalls ee m  to have beenusedin music.T he Corni sh ba gpipes d ied out,a s  elsewhe reinsou the r n  E ngland, in th e 16th  c entury,  bu t haverec ent lybee nre-create d. Fromth emi d- 19t h cen t ury acco rd ion sbec ame p r ogress ively  mor epo p ula r as af ol k inst ru me nt i n t he  coun ty,a s i n the r est of th e W e st C ou nt ry. The re is long an dvaried his to ryof Cor n i sh dance  from the medieval peri o d, with  re cords  ofstrong tr adi tionsofmorris  danci ng, m um min g ,  guis e da nci ng , and soci a l  da nce.Th eseseem to  have been interru p ted  by the Refor mat iona n dCiv i lW aran d  Co m m onwealth in the  16th and17 t hcenturies. How ev er, the re was revi v al from  the late  18th cen tu ry a n d   s easonal an d commun ity festi v als,m um mingand  guisi ng  al l flo urishe d . I n the  19thce nturya str on g tradit ion of nonconformity an d temp eranc e m ay also h ave aff ected dan cing  and music  ad ver selyand encou rage d  c hor a l and  bra s s band mo v em ent s ,  w hile tradit i o n altunes  we r e used  for  carols. Some com m unity events s urvi v e d,suc h  asth e 'Obby 'Oss f est iv a l  in Pads to w and the F urry Dan ce in He lston.  Folksongs i n c lu d e ‘Swe et N igh tingale’,  ‘L it t le Eyes ’,  a n d ‘Lam orna ’.  'Trel awny'i s of t e n sung at sporti ng ev e n ts an d  is  seen  b y manya s an  unofficia l anthem. F ew tra diti onalCornish  l yricssur vi ved the de c line of t he la nguage,  b ut i n s ome ca sesl y ricsof c om mon  Englishs o ng s  b ec a meatta chedto 
 Rottingdean,_who emerged_as authorities on folk_song and_eventually_as major_recording_artists. 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._L._Lloyd_first heard folk music. Other_performers include Scan Tester, Henry_Burstow and_the sisters Dolly and Shirley Collins. Sussex songs_were_also the foundation_of the repertoire of the influential Young Tradition. The_county has over twenty folk clubs_and other venues_hosting_folk_music by organisations such_as Acoustic Sussex. There are also_annual folk music festivals at Eastbourne,_Crawley and Lewes.

The West Country

Cornwall

The music of_Cornwall is often noted for its_similarity to that of Brittany_and, as_a result of the close_physical and cultural_ties between_the two peninsulas,_some older songs and carols share_the same root_as Breton tunes. From the late_Middle_Ages the fiddle_(crowd_in_Cornish), bombarde_(horn-pipe), bagpipes and_harp_all seem_to_have been used in music. The_Cornish_bagpipes died out, as elsewhere in southern_England, in the 16th_century,_but have recently been_re-created. From the mid-19th century_accordions became progressively more popular as_a folk_instrument in_the county, as in the rest of the West Country. There_is long and varied history of_Cornish dance from the_medieval period,_with_records of strong_traditions_of _morris dancing, mumming, guise dancing, and social_dance. These_seem to have been interrupted by_the Reformation and Civil_War_and Commonwealth in the 16th and_17th centuries. However, there was _revival from the late 18th_century_and_ seasonal and community festivals,_mumming and guising all flourished. In_the 19th century_a strong tradition of nonconformity and temperance_may_also have affected dancing and music_adversely_and encouraged choral and brass band_movements,_while_traditional tunes were used for_carols. Some community events survived, such_as the 'Obby 'Oss festival in Padstow and the_Furry Dance in_Helston. Folk songs include ‘Sweet_Nightingale’,_‘Little_Eyes’, and ‘Lamorna’. 'Trelawny' is often sung at sporting events_and is_seen by many_as an unofficial anthem. Few traditional Cornish lyrics survived the_decline of the language, but in some_cases lyrics of common English songs became attached to