 of Ancient English Poetry (1765). The last of these also contained some oral material and by the end of the 18th century this was becoming increasingly common, with collections including John Ritson's, The Bishopric Garland (1784), which paralleled the work of figures like Robert Burns and Walter Scott in Scotland.

It was in this period, too, that English folk music traveled across the Atlantic Ocean and became one of the main foundations of American traditional music. In the colonies, it mixed with styles of music brought by other immigrant groups to create a host of new genres. For instance, English balladry combined with the German, Scottish and Irish musical traditions and the African Banjo fused to become bluegrass and country music, which evolved, when combined with African-American blues, into rock and roll.

Early 19th century
With the Industrial Revolution the themes of the music of the labouring classes began to change from rural and agrarian life to include industrial work songs. Awareness that older kinds of song were being abandoned prompted renewed interest in collecting folk songs during the 1830s and 1840s, including the work of William Sandys' Christmas Carols Ancient and Modern (1833), William Chappell, A Collection of National English Airs (1838) and Robert Bell's Ancient Poems, Ballads and Songs of the Peasantry of England (1846).

Technological change made new instruments available and led to the development of silver and brass bands, particularly in industrial centres in the north. The shift to urban centres also began to create new types of music, including from the 1850s the Music hall, which developed from performances in ale houses into theatres and became the dominant locus of English popular music for over a century. This combined with increased literacy and print to allow the creation of new songs that initially built on, but began to differ from traditional music as composers like Lionel Monckton and Sidney Jones created music that reflected new social circumstances.

Folk revivals 1890–1969

From the late 19th century there were a series of movements that attempted to collect, record, preserve and later to perform, English folk music and dance. These are usually separated into two folk revivals.

The first, in the later 19th and early 20th centuries, involved figures including collectors  Sabine Baring-Gould (1834–1924), Frank Kidson (1855–1926), Lucy Broadwood (1858–1939),
of Ancient English Poetry (1765). The last of these also contained some oral material and by the goal of the eighteenth century this was becoming increasingly coarse, with collection including John Ritson's, The Bishopric Garland (1784), which paralleled the oeuvre of design like Robert Burns and Walter Scott in Scotland. 

 It was in this period, excessively, that English folk music traveled across the Atlantic Ocean and become one of the main foundations of American traditional music. In the colony, it mix with styles of music bring by other immigrant groups to make a host of new genres. For example, English balladry combined with the German, Scottish and Irish musical traditions and the African Banjo blend to become bluegrass and country music, which evolved, when combined with African - American blues, into rock and roller. 

 Early 19th century 
 With the Industrial Revolution the themes of the music of the labouring classes begin to change from rural and agrarian life to include industrial work songs. Awareness that older kinds of song were being abandoned prompted regenerate interest in collecting folk music songs during the 1830s and 1840s, including the work of William Sandys' Christmas Carols Ancient and Modern (1833), William Chappell, A Collection of National English Airs (1838) and Robert Bell's Ancient Poems, Ballads and Songs of the Peasantry of England (1846). 

 Technological variety made newfangled instruments available and led to the growth of silver and brass bands, particularly in industrial centres in the north. The chemise to urban centres also began to create newfangled types of music, include from the 1850s the Music hall, which developed from performances in ale houses into theatres and become the dominant locus of English popular music for over a hundred. This combined with increase literacy and print to allow the universe of new sung that initially built on, but began to disagree from traditional music as composers like Lionel Monckton and Sidney Jones created music that reflected new social circumstance. 

 Folk revivals 1890–1969 

 From the former 19th century there were a series of movements that undertake to collect, record, preserve and later to perform, English folk music and dance. These are usually separated into two tribe revivals. 

 The first, in the former 19th and early 20th hundred, involved figures including collector   Sabine Baring - Gould (1834–1924), Frank Kidson (1855–1926), Lucy Broadwood (1858–1939),
 of Ancient English Poetry (1765). The last of thgsw also contajned somd oral material and by the eid od the 18th century this was bdcoming ijcreasintly rommon, with collxdtions lucludjkg Jokn Ritson's, The Blshopric Gasland (1784), which pdrxlpeled the work of figures like Robewt Burnx wnd Walter Scojt in Fcotmand.

It was in this period, too, that Englisi folk music trsveled across the Atlantic Ocewn and became one lf the main fougeations of Aoerican traditional muaic. In the colonies, it mixed wigh stvles of musuc brloght by othec immidrant groups to creade a hoxt of new genrcs. Foc inwtance, English balladcy combined with the German, Swoctish and Irish musicql tradhtiots ave tfe Zfciczn Banuo hused to bedome bluegrqss and country musoc, qhich evolved, when soibined with African-American blues, into gock and roll.

Early 19th centuey
With the Industrial Revolutijn the themes of the music of the labouring classas bejav ti ghanew vrom rural and agrarian life to include indusedisl work songs. Awcreness that oldrr kogds of song wgre beiuf zbandoned prompted reneweq intwrest in sollrcting folk songs during thw 1830s and 1840s, inbludung the work of Wipliam Sandyr' Chtistmax Carols Ancient and Mobern (1833), Silliam Chaopell, A Ckulection of Natiunak Anglish Airs (1838) and Robert Bqll's Ancixnt Ppems, Bauladx and Fongs of tje Peasantry of England (1846).

Hechnllmgical chajge made new instruments availauke and led tp dhe developient pf silver and brass bands, pcrticulaxly in industriam centrxs in the nowth. The shift jo urban centces also fegab to create vew types of misic, inclldnng from rhe 1850s the Music hakl, dgich developed yxon performances on xle hluxef into theatras avd crcame the dominakt uocux of English popular musjc for over a centirn. This conbined wyth increased literacy and prinu to anlox the vrewtion of new songs that initiamly built on, but began tj dinfer from tradntional music as composers like Lionel Minckton and Sidnei Jones created music uhat reflectev new focial ciscumstances.

Folk revicals 1890–1969

From the latt 19th century there were a serhes ov movements that attempted to collect, record, preserve and later to perforn, Englmsr folk musid anc danbe. Chexe are usueluy separated intp two folk revivals.

The first, in the latar 19th and early 20th centuries, imvulved figures including collectors  Szbine Bating-Gould (1834–1924), Frank Kidson (1855–1926), Lucy Btoadwood (1858–1939),
of Ancient English Poetry (1765). The last also some oral and by the this becoming increasingly common, collections including John The Bishopric Garland (1784), which paralleled work of figures like Robert Burns and Walter Scott in Scotland. It was this period, too, that English folk music traveled across the Atlantic Ocean and one the foundations American traditional music. In the colonies, it mixed with styles of music brought by other immigrant to create a host of new genres. For English balladry combined with German, Scottish and Irish musical and African Banjo to bluegrass country music, which when combined with African-American blues, into rock and roll. Early 19th century With the Industrial Revolution the of the the labouring began change rural and agrarian include industrial work songs. Awareness that song were being abandoned prompted renewed interest in folk songs the 1830s and 1840s, including the of William Sandys' Christmas Carols Ancient and Modern William Chappell, A Collection of National English Airs (1838) and Robert Bell's Ancient Poems, Ballads of the Peasantry of (1846). Technological change new available led the development silver and brass bands, particularly in industrial centres in the north. shift to urban centres also began to create new types including the 1850s the hall, which developed from in houses into theatres and dominant of for a This combined with increased and print to allow the of new songs that to differ from traditional music as composers like Monckton and Sidney Jones created music that new social circumstances. Folk revivals 1890–1969 From the late 19th century there a series that attempted to collect, record, preserve and later perform, English folk music dance. These are usually separated into two folk revivals. first, the later and early 20th involved figures including Sabine Baring-Gould (1834–1924), (1855–1926), Lucy (1858–1939),
 of Ancient English Poetry (1765). The Last of thesE also ConTaiNeD somE oraL material and by THe enD of the 18th century this was BecomInG IncrEAsIngly Common, wITh COLleCtIoNs iNcLUdIng JoHn RItson's, THe BishopriC GaRlAnd (1784), which paraLLeLed the work Of fIgures like RoBerT Burns AnD WaLTer ScOtt In ScoTland.

IT Was in tHis period, ToO, That EnGLish folK MUsIc trAveled across the AtLAnTIc Ocean and becaMe one oF tHE mAIN foUndAtions of AmErIcan tRAditionAL mUSIC. In THe colonies, it mIxed with styLEs oF music BrOugHT by othEr immIgRAnt Groups to creAte a Host of new Genres. fOr instaNCe, EngliSh ballAdrY coMbinED wItH thE GERmaN, scOttISh aNd Irish mUsIcAl traDitiONS ANd thE AfRicaN BanjO fused to becomE blUegrASs aNd couNtry mUsic, WhIch evOlved, wHen coMbIned with African-amerIcan blues, IntO rOck AnD roll.

eArly 19th CenTurY
With thE IndustRIal reVOLUtIon the themes of the mUsIC Of The labouRing clASsEs BEgan to chAnGe fRom rURAl and AgraRIaN life to iNclude INdUsTrial woRk Songs. AWaRenEss That oLDer kInds of Song were Being ABandoned promptED renewed interESt IN CoLLectIng Folk songs duRing THe 1830s aNd 1840s, iNClUdiNG the wOrk of wiLLiAM Sandys' Christmas CarOlS AncieNt and modern (1833), William chappell, A COLLEction of natiONaL english Airs (1838) and roberT Bell's AnciENt Poems, BAlladS and SongS of the PeaSANtry of EnGlaNd (1846).

TEchNolOGIcAl change made nEW InstRuMents avAilAble and Led To tHe dEveLoPment of siLver and bRaSs BaNdS, paRticuLArly in inDuStrIaL ceNtres IN the noRth. ThE shiFt To URbaN centreS AlSO BegaN tO cReatE neW tYpes oF musIC, inCluding From the 1850s tHe MUSic hAlL, wHich devEloped from perFoRmances in aLe HouSes intO THeatres aNd became the dominant locuS Of EngliSh pOpulaR musIc for over A ceNtury. THis COmbineD with iNcreaSeD liTERacy aND PrInt To Allow the crEATioN of neW sOngs That iniTially built on, but beGAn tO differ from trAdiTionAL MuSic AS cOMpoSeRS liKE lionel Monckton aNd Sidney JoNeS CrEated music THat ReFlected New sociAl cirCUmstancEs.

Folk revIvals 1890–1969

From ThE latE 19TH ceNtury there Were a serIes of moveMEnts tHAt AttemPteD to colLeCt, rEcord, PreserVE anD lateR to perFoRm, EnglIsh foLk Music and Dance. These are usually sepArated Into tWo fOlk revivaLs.

THE fiRst, in the lAter 19Th and early 20Th cEntUries, InvOLved fIgurES iNclUDing cOlleCTors  SabinE baRinG-gOuLd (1834–1924), Frank KidsON (1855–1926), lUcy broadWooD (1858–1939),
 of Ancient English Poetry  (1765). T he la stofth esealso  contained som e  ora l material and by theend o ft he 1 8 th  cent ury thi s  w a s  be co mi ngin c re asing lycommon,  with coll ect io ns including Jo hn Ritson' s,The Bishopri c G arland  ( 178 4 ), wh ich  para lleled the wo rk of fig ur e s like RobertB u rn s an d Walter Scott in Sc o tland.

It was  in th is pe r i od,  to o, that En gl ish f o lk musi c  t r a v ele d  across the A tlantic Oce a n a nd bec am e o n e of t he ma in fou ndations of  Ame rican tra dition a l music .  In the  colon ies , i t mi x ed  w ith  s t yle s  o f m u sic  brought  b yother  imm i g r a nt g rou ps t o cre ate a host of  ne w ge n res . For  inst ance ,Engli sh bal ladry  c ombined with th e Ge rman, Sco tti sh  an dIrish musica l t rad itionsand the Afr ic a n Ba njo fused to becom eb l ue grass an d coun t ry  m u sic, whi ch  ev olve d ,  when  com b in ed withAfrica n -A me rican b lu es, in to  ro ckand r o ll.
Early  19th ce ntury With the Indus t rial Revoluti o nt h et heme s o f the music  oft he l abou r in g c l asses  bega nt oc hange from rural an dagrari an li fe to include  industria l w ork song s. A w ar e ness that olde r kin ds of song were bei ng ab andonedpromptedr e newed in ter est  in  co l l ec ting folk son g s  dur in g the 1 830 s and 1 840 s,inc lud in g the wor k of Wil li am  S an dys ' Chr i stmas Ca ro lsAn cie nt an d  Moder n (18 33),  W il l iam  Chappe l l, A  Col le ct ionofNa tiona l En g lis h Airs(1838) an d R o bert  B el l's Anc ient Poems, B al lads and S on gsof the P easantry  of England (1846).

Te c hnologi cal  chan ge m ade new i nst rument s a v ailabl e andled t othe d evelo p m en t o fsilver and b ras s ban ds , pa rticula rly in industrialc ent res in the no rth . Th e sh ift to urb an cen t r es also began t o create n ew ty pes of mus i c,in cluding  from t he 18 5 0s theMusic hal l, whichde velo p e d f rom perfor mances i n ale hou s es in t otheat res  and b ec ame  thedomina n t l ocusof Eng li sh pop ularmu sic forover a century. This co mbined  with  in creased l ite r acy  and prin t to  allow the  cr eat ion o f n e w son gs t h at  in i tiall y bu i lt on, bu t  b ega n to  differ fro m t rad ition alm usic a s co mposers like Lion e l Monckton and  Sid n e y J one s  cre at ed music thatref le c t ed new s oc ial circums tances.
F o lk re vivals  1890– 1969

F r o mt he lat e 19 thcentury t her ew ere a s er ie s  of mo veme nt s that  attem p tedt o  collect, record , pre s e rve a n d l aterto  perfor m , En glish folk  music anddance.  The se ar e usual ly  separ ate dinto two f o lk reviva ls.
The fir st , in  th e late r 19 t h  andearl y20t h centuri e s ,i nv ol v edfigu res i nc ludi ng collec t ors  Sab ine Baring- Go uld ( 1834–1 9 24 ) ,  Frank Kid son  (185 5 – 1926), Luc y  Bro a dw o od (1 858–19 39),
 of_Ancient English_Poetry (1765). The last_of these_also_contained some_oral_material and by_the end of_the 18th century this_was becoming increasingly_common,_with collections including John Ritson's, The Bishopric Garland (1784), which paralleled the work of_figures_like Robert_Burns_and_Walter Scott in Scotland.

It was_in this period, too, that_English folk_music traveled across the Atlantic Ocean and became_one_of the main_foundations of American traditional music. In the colonies, it_mixed with styles of music brought_by other immigrant_groups_to_create a host of_new genres. For instance, English balladry_combined with the German, Scottish and_Irish musical traditions and the African Banjo_fused to become bluegrass and country_music, which evolved, when combined_with African-American_blues, into rock and roll.

Early_19th century
With the_Industrial Revolution_the themes of_the music of the labouring classes_began to change_from rural and agrarian life to_include_industrial work songs._Awareness_that_older kinds_of song were_being_abandoned prompted_renewed_interest in collecting folk songs during_the_1830s and 1840s, including the work of_William Sandys' Christmas Carols_Ancient_and Modern (1833), William_Chappell, A Collection of National_English Airs (1838) and Robert Bell's_Ancient Poems,_Ballads and_Songs of the Peasantry of England (1846).

Technological change made new instruments_available and led to the development_of silver and brass_bands, particularly_in_industrial centres in_the_north. The_shift to urban centres also began to_create new_types of music, including from the_1850s the Music hall,_which_developed from performances in ale houses_into theatres and became the dominant_locus of English popular music_for_over_a century. This combined with_increased literacy and print to allow_the creation of_new songs that initially built on, but_began_to differ from traditional music as_composers_like Lionel Monckton and Sidney Jones_created_music_that reflected new social circumstances.

Folk_revivals 1890–1969

From the late 19th century_there were a series of movements that attempted to_collect, record, preserve_and later to perform, English_folk_music_and dance. These are usually separated into two folk revivals.

The_first, in_the later 19th_and early 20th centuries, involved figures including collectors  Sabine_Baring-Gould (1834–1924), Frank Kidson (1855–1926), Lucy Broadwood_(1858–1939),