The English Soundtrack

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The latter won the the Academy Award for Best Foreign Language Film at the 82nd Academy Awards in 2010. Sussex material was used by the composers of the English pastoral school, for example in Percy Grainger's arrangement of 'The Sussex Mummers' Christmas Carol', Ralph Vaughan Williams' use of the tune ' Monk's Gate' as a setting for John Bunyan's ' To be a Pilgrim' and George Butterworth's arrangement of 'Folk Songs from Sussex'.

Technological change made new instruments available and led to the development of silver and brass bands, particularly in industrial centres in the north. The name is thought to derive from the term 'moorish dance', for Spanish (Muslim) styles of dance and may derive from English court dances of the period. Jusid's work can be heard in previous series such as Gran Reserva and 2018's Watership Down, as well as the films Life Itself, Exodus: Gods and Kings and The Secret in Their Eyes. E. Gillington, Eight Hampshire Folk Songs Taken from the Mouths of the Peasantry (London: Curwen, 1907); A. The version of this chant linked to the liturgy as used in the Diocese of Salisbury, the Sarum Use, first recorded from the 13th century, became dominant in England.

The region is host to numerous folk clubs, and festivals, including the Oxford festival and Fairport's Cropredy Convention in Oxfordshire and St Albans in Hertfordshire. The region was important in the first folk revival, as the Devon-born antiquarian Sabine Baring-Gould invested effort in collecting regional music, published as Songs and Ballads of the West (1889–91), the first collection published for the mass market. The English is written and directed by Hugo Blick and stars Emily Blunt, Chaske Spencer, Stephen Rea, Rafe Spall, Valerie Pachner, Tom Hughes, Toby Jones and Ciarán Hinds. Due to its lack of clear boundaries and a perceived lack of identity in its folk music, the English Midlands attracted relatively little interest in the early revivals. In 1932 the Folk-Song Society and the English Folk Dance Society merged to become the English Folk Dance and Song Society (EFDSS).

A later generation of performers used the folk club circuit for highly successful mainstream careers, including Billy Connolly, Jasper Carrott, Ian Dury and Barbara Dickson. J. Wardroper, Lovers, Rakes and Rogues, Amatory, Merry and Bawdy Verse from 1580 to 1830 (London: Shelfmark, 1995), p. Also important were occasional radio shows, such as Lomax's Ballads and Blues (1951), [55] MacColl's Radio-ballads (1958–64) and The Song Carriers (1968).L. Lloyd and the English Folk Song Revival, 1934–44', Canadian Journal for Traditional Music (1997).

The traditional ballad has been seen as originating with the wandering minstrels of late medieval Europe. 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. The short-lived Northumbrian Small Pipes Society was founded in Newcastle in 1893 and the Northumbrian Pipers' Society in 1928, and they are generally credited with keeping the distinctive tradition alive. Folk festivals began to be organised by the EFDSS from about 1950, usually as local or regional event with an emphasis on dance, like the Sidmouth Festival (from 1955) and the Keele Festival (1965), which was abandoned in 1981 but reinstituted three years later as the National Folk Festival. Holman, From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century (Aldershot: Ashgate, 2005).From roughly the same period, songs of protest at war, pointing out the costs to human lives, also begin to appear, like "The Maunding Souldier or The Fruits of Warre is Beggery", framed as a begging appeal from a crippled soldier of the Thirty Years War. From 1905, Percy Grainger was actively collecting in Lincolnshire, acquiring recordings of songs that would provide the basis for his Lincolnshire Posy (1937). These seem to have been interrupted by the Reformation and Civil War and Commonwealth in the 16th and 17th centuries. The most successful of these was Ralph McTell, whose ' Streets of London' reached number 2 in the UK Single Charts in 1974, and whose music is clearly folk, but without much reliance on tradition, virtuosity, or much evidence of attempts at fusion with other genres. Bratton, Acts of Supremacy: The British Empire and the Stage, 1790–1930 (Manchester: Manchester University Press, 1991), pp.