Folk song in the context of "Monophony"

A song is a musical composition performed by the human voice. The voice often carries the melody (a series of distinct and fixed pitches) using patterns of sound and silence. Songs have a structure, such as the common ABA form, and are usually made of sections that are repeated or performed with variation later. A song without instruments is said to be a cappella.

Written words created specifically for music, or for which music is specifically created, are called lyrics. If a pre-existing poem is set to composed music in the classical tradition, it is called an art song. Songs that are sung on repeated pitches without distinct contours and patterns that rise and fall are called chants. Songs composed in a simple style that are learned informally by ear are often referred to as folk songs. Songs composed for the mass market, designed to be sung by professional singers who sell their recordings or live shows, are called popular songs. These songs, which have broad appeal, are often composed by professional songwriters, composers, and lyricists; art songs are composed by trained classical composers for concert or recital performances. Songs are performed in studios and an audio recording is made, or they are performed live for audience. (In some cases a song may be performed live and simultaneously recorded.) Songs may also appear in theatre (e.g., opera), films and TV shows.

Waulking songs (Scottish Gaelic: Òrain Luaidh) are Scottish folk songs, traditionally sung in the Gaelic language by women while fulling (waulking) cloth. This practice involved a group of women, who traditionally prepared cloth, rhythmically beating newly woven tweed or tartan cloth against a table or similar surface to lightly felt it and shrink it to better repel water. Simple, beat-driven songs were used to accompany the work.

A waulking session often begins with slow-paced songs, with the tempo increasing as the cloth becomes softer. As the singers work the cloth, they gradually shift it to the left so as to work it thoroughly. A tradition holds that moving the cloth anticlockwise is unlucky.

"John Barleycorn" is an English and Scottish folk song. The song's protagonist is John Barleycorn, a personification of barley and of the beer made from it. In the song, he suffers indignities, attacks, and death that correspond to the various stages of barley cultivation, such as reaping and malting.

The song may have its origins in ancient English or Scottish folklore, with written evidence of the song dating it at least as far back as the Elizabethan era. It is listed as number 164 in the Roud Folk Song Index. The oldest versions are Scottish and include the Scots poem "Quhy Sowld Nocht Allane Honorit Be". In 1782, the Scottish poet Robert Burns published his own version of the song, which influenced subsequent versions.

Joshua Daniel White (February 11, 1914 – September 5, 1969) was an American singer, guitarist, songwriter, actor and civil rights activist. He also recorded under the names Pinewood Tom and Tippy Barton in the 1930s.

White grew up in the South during the 1920s and 1930s. He became a prominent race records artist, with a prolific output of recordings in genres including Piedmont blues, country blues, gospel music, and social protest songs. In 1931, White moved to New York, and within a decade his fame had spread widely. His repertoire expanded to include urban blues, jazz, traditional folk songs, and political protest songs, and he was in demand as an actor on radio, Broadway, and film.

Mr. Tambourine Man is the debut studio album by the American rock band the Byrds, released on June 21, 1965, by Columbia Records. The album is characterized by the Byrds' signature sound of Jim McGuinn's 12-string Rickenbacker guitar and the band's complex harmony singing. The material on the album consists of cover versions of folk songs, primarily composed by Bob Dylan, and originals written or co-written by singer Gene Clark. Along with the Dylan-penned single of the same name, Mr. Tambourine Man established the band as an internationally successful act and is widely regarded by critics as representing the first effective American challenge to the chart dominance of the Beatles and other British Invasion bands during the mid-1960s.

The album was influential in popularizing the musical subgenre known as folk rock, by melding sophisticated lyrical content with electric guitars and a rock backbeat. The term "folk rock" was first coined by the American music press to describe the Byrds' sound in mid-1965, around the same time that the album was released. The band's hybrid of a British Invasion beat, jangly guitar playing, and poetic or socially conscious lyrics influenced a number of acts in the mid-1960s and has also been influential on later musicians.