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The term traditional music is often used as a broad classification of music genres that contrasts with popular music, designated mostly for developing and transmitting through musical traditions, either art, folk, or religious ones.

Hi everyone! I am looking for banging music that mixes modern music styles with traditional music parts, like Mino's "Finac'. This song is a really fun melange of contemporary sounds and an "enka"-like singing (what's the Korean equivalent?).

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The band for the Dance will be the LITMA Contra Band. The LITMA Contra Band is a group of dedicated volunteers who get together regularly to practice and play traditional music together. They fill the stage with musicians and provide lively danceable music for the dancers.

Mary McLean, Skyline Farms, 1937 Alabama has long been considered by folksong collectors as a state rich in traditional music. This is particularly a result of the waves of Scots-Irish and African peoples that populated the region during the nineteenth century, whose musical traditions were sustained by the enduring agricultural economy and by their relative cultural stability. When twentieth-century folksong collectors and recording-company talent scouts visited the state, they found a wealth of traditional music still embedded in community social entertainment, religious worship, and communal labor. Their collections long defined the breadth and character of traditional music in Alabama.

In popular usage, the term traditional music is generally defined as the long-standing musical practices of communities and informal social groups. In this sense, traditional music is seen as an expression of the most important concerns of the community. Originally, this term was applied only to rural and agricultural music, as opposed to formal music taught in schools and academies or distributed on recorded media. Today, the term embraces all music that arises from and is pertinent to social experience.

Charlie Stripling Secular entertainment provided venues for the most visible forms of traditional music. Among the Scots-Irish, the fiddle took center-stage in dance bands, fiddle contests, and informal entertainment. Fiddlers played a variety of dance and song tunes, but the most important were the dance tunes from the fiddle tradition of the British Isles. The banjo was brought to Alabama by enslaved Africans and became an important component of African American music. Early banjos were made from skins stretched over gourds and existed in African American traditional music long before their nineteenth-century introduction into the Scots-Irish tradition.

Henry Japeth Jackson The most distinctive tradition of religious folk music in Alabama is Sacred Harp singing, also known as fasola or shape-note singing. This group vocal style is sung from tunebooks printed with accompanying symbols, called shape notes, and is taught in traditional venues called singing schools. The Sacred Harp tradition came to Alabama with the Denson family, who moved to Cleburne County in the 1850s. Brothers Seaborn McDaniel Denson (1854-1936) and Thomas Jackson Denson (1863-1935), of Cleburne and Winston Counties, taught Sacred Harp singing in north Alabama and produced their important revision of The Sacred Harp, a tunebook first published in 1844. In 1902, W. M. Cooper of Dothan introduced the Cooper Revision of the book that became established in the Southeast. In 1934, Judge Jackson of Ozark compiled The Colored Sacred Harp, and the book became established among African American singers of that region. Bibb County singers adopted the South Carolina tunebook Christian Harmony, and Alabama singers revised the book in 1958. Alabama has become an important repository for this once-national tradition and attracts followers from all over the world. Many attend the annual National Sacred Harp Singing Convention in Birmingham as well as other singings held throughout the state.

Happy Land Jubilee Singers African American gospel music is related to European American gospel tradition mainly in its adoption of the predominant stylistic traits and its association with evangelical religion. It is considered a twentieth-century modernization of the spiritual, the chief musical form of early African American Christianity, and it ultimately developed into two forms. As a form of worship, it evolved from congregational singing, featuring call-and-response musical patterns, into performances by choirs. By the mid-twentieth century, gospel worship had developed a distinctive form associated with urban churches, with large choirs and virtuoso solo vocalists. A second gospel music form was the gospel quartet, an ensemble style featuring a capella singing, close harmony, precision arrangements, and performance in both display and worship settings. Alabama is noted for its virtuoso ensembles: in the 1920s the Birmingham area produced groups such as the Sterling Jubilee Singers. From the quartet tradition emerged important ensembles such as the Blind Boys of Alabama (which originated at the Alabama School for the Deaf and Blind in Talladega), Dorothy Love Coates and the Original Gospel Harmonettes of Birmingham, and contemporary groups like the Birmingham Sunlights and Take 6.

Although Africans and Scots-Irish have predominated in folksong collections, Alabama is a diverse state with music from many other cultural points of origin. The concentrations of early French settlers on the Gulf coast and nineteenth-century Germans in Cullman County would have included musical traditions, but this largely escaped the attention of folklorists and other observers. In recent decades, musical traditions have been documented among recent immigrant groups, especially where there are concentrated settlements and a disinclination to assimilate. Notable are Southeast Asians in the southwest coastal region of Alabama and Latin Americans who have settled throughout the state. Mariachi Garibaldi, a professional mariachi band has settled in Alabama and performs throughout the Southeast. The folk music of recent immigrants is an intriguing and fast-changing field that will undoubtedly receive more attention from future scholars.

Traditional songs, often called "folk songs," are learned informally, within the context of family, tribe, community, or another close-knit group. Many traditional songs have been sung within the same family or ethnic and regional communities for generations, and as in the case of American traditional songs, can sometimes be traced back to such places of origin as Great Britain, Europe, or Africa and other homelands reflecting America's diverse cultural heritage. At some point the song would have been composed by a single individual, but that author may no longer be known. Most traditional and folk songs change over time, and as they are passed from person to person many variants of the same song or tune often spring up.

In this distinctive recording, the tenor Pasquale Feis is accompanied by the ciaramella and zampogna (types of Italian bagpipe) as he performs this traditional Italian Christmas hymn by Tommaso Cappoci.

In some contexts, traditional songs are an integral part of daily life and are performed to accompany particular activities associated with work, religious celebration, or social occasions. Anglo-American ballads often offer cautionary tales and moral lessons, warning young women about the temptations of honey-tongued suitors and warning men about the wiles of unfaithful women. Sea shanties and railroad songs can function to lighten the burden of routine tasks and provide a rhythm that helps workers perform as a team. Lullabies bind together mother and child, and song and music of all sorts performed within the context of family helps to connect one generation to the next. Blues and its many subgenres are also considered traditional songs.

The term "folk songs" is also used to describe songs composed in the style of traditional songs in the "folksong revival" most notably beginning in the 1960s featuring performers such as the Kingston Trio, Peter, Paul and Mary, the Weavers, Tom Rush, Odetta, Bob Dylan and many others.

There are many ethnic recordings in this presentation. Generally speaking, ethnic songs may be of many genres including popular, classical, traditional and religious, and they are usually not sung in English.

Ethnic songs are a significant component of the American song repertoire. In a nation of many cultures, ethnic songs and music includes songs from nearly every cultural and language group in the world. Immigration to the United States played an important role in American history, especially at the beginning of the twentieth century. In 1900, 13.5 percent of the population of the United States was foreign born and the figure was much higher in metropolitan areas such as New York, Chicago, Baltimore, San Francisco and other large cities. In 1910 there were 700 foreign-language daily or weekly publications in the United States with a total circulation exceeding five million. The recent census reports that in 2010 the percentage of foreign- born people in the United States is 12.7%. Ethnic songs in America not only entertain in a language familiar to listeners, they often, as in the case of traditional ethnic songs, play an important role in expressing and conserving our nation's diverse cultural heritage.

Songs and music, as in all other forms of the arts, are a dynamic form of cultural expression. Performers borrow, interpret, and modify songs based on many factors including personal, cultural, and regional influences. And throughout the history of mankind song and music have been influenced by historic events, conquering nations, ancient trade routes and ever-changing communications systems -- commercial recordings, radio, TV and the Internet. Still to be considered is the growing movement of songs and music creations that fuse song and musical influences from two or more cultural groups. Sometimes referred to as World Music, there has been a growing innovative trend to blend elements of traditional music from many regions of the world to generate new and creative works. Whether we would classify as "ethnic" songs and music examples such as Celtic Hip Hop, Yiddish Blues, or Ethiopian Jazz, all blends of ethnic traditional sounds with modern western music, remains a question for readers to consider. 2351a5e196