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Folk music - can have a number of different meanings, including:

1. The original meaning of the term "folk music" was synonymous with the term "Traditional music", also often including World Music and Roots music; the term "Traditional music" was given its more specific meaning to distinguish it from the other definitions that "Folk music" is now considered to encompass.

2. Folk music can also describe a particular kind of popular music which is based on traditional music. In contemporary times, this kind of folk music is often performed by professional musicians. Related genres include Folk rock, Electric folk and Progressive folk music.

3. In American culture, folk music refers to the American folk music revival, music exemplified by such musicians as Woody Guthrie, Leadbelly, Pete Seeger, Ramblin' Jack Elliott, Bob Dylan, Phil Ochs, Tom Paxton, and Joan Baez, who popularized and encouraged the lyrical style in the 1950s and 1960s.

Traditional music - is the term now used in the terminology of Grammy Awards, for what used to be called "folk music". Folk music had these characteristics: 1. It was transmitted through an oral tradition; 2. They commemorate historical and personal events. 3. Non-commercial.

MUZICA "ALBA"

Appalachian music - is the traditional music of the region of Appalachia in the Eastern United States

It is derived from various European and African influences, including English ballads, Irish and Scottish traditional music (especially fiddle music), religious hymns, and African-American blues.

First recorded in the 1920s, Appalachian musicians were a key influence on the early development of Old-time music, country music, and bluegrass, and were an important part of the American folk music revival of the 1960s.

Instruments typically used to perform Appalachian music include the banjo, fiddle, fretted dulcimer, and guitar.

Old-time music (Appalachian folk music) - is a form of North American folk music, with roots in the folk musics of many countries, including England, Scotland, Ireland and Africa.

With its origins in traditional music of Europe and Africa, old-time music represents perhaps the oldest form of North American traditional music other than Native American music, and thus the term "old-time" is an appropriate one. As a label, however, it dates back only to 1923.

This musical form developed along with various North American folk dances, such as square dance, buck dance, and clogging. The genre also encompasses ballads and other types of folk songs. It is played on acoustic instruments, generally centering on a combination of fiddle and plucked string instruments (most often the guitar and, more generally in regions outside of the Northeast U.S. and Canada, banjo).

The roots of old-time music are in the traditional musics of the British Isles (primarily English, Scottish and Irish), with a strong admixture of African music. In some regions French and German sources are also prominent. While many dance tunes and ballads can be traced to European sources, many others are of purely North American origin.

Bluegrass music is a form of American roots music, and is a sub-genre of country music It has its own roots in Irish, Scottish and English traditional music. Bluegrass was inspired by the music of immigrants from the United Kingdom and Ireland (particularly the Scots-Irish immigrants in Appalachia).

Bluegrass as a style developed during the mid-1940s. Because of war rationing, recording was limited during that time, and it would be most accurate to say that bluegrass was played some time after World War II, but no earlier. As with any musical genre, no one person can claim to have "invented" it. Rather, bluegrass is an amalgam of old-time music, country, ragtime and jazz.

Today Bill Monroe is referred to as the "founding father" of bluegrass music; the bluegrass style was named for his band, the Blue Grass Boys, formed in 1939. The 1945 addition of banjo player Earl Scruggs, who played with a three-finger roll originally developed by Snuffy Jenkins, but now almost universally known as "Scruggs style", is considered the key moment in the development of this genre. (Jenkins, in interviews, has renounced his role as being the one who invented the three-finger roll, and has said he learned it from Rex Brooks and Smith Hammett in the 1920s.)

Monroe's 1946 to 1948 band, which featured Scruggs, singer-guitarist Lester Flatt, fiddler Chubby Wise and bassist Howard Watts, also known as "Cedric Rainwater,"-sometimes called "the original bluegrass band"-created the definitive sound and instrumental configuration that remains a model to this day. By some arguments, as long as the Blue Grass Boys were the only band playing this music, it was just their unique style; it could not be considered a musical style until other bands began performing in similar fashion. In 1947, the Stanley Brothers recorded the traditional song "Molly and Tenbrooks" in the Blue Grass Boys' style, and this could also be pointed to as the beginning of bluegrass as a style.

Bluegrass is not and never was folk music under a strict definition; however, the topical and narrative themes of many bluegrass songs are highly reminiscent of "folk music". In fact, many songs that are widely considered to be bluegrass are older works legitimately classified as folk or old-time music performed in a bluegrass style.

In bluegrass, as in jazz, each instrument takes its turn playing the melody and improvising around it, while the others perform accompaniment. This is in contrast to old-time music, in which all instruments play the melody together or one instrument carries the lead throughout while the others provide accompaniment. Traditional bluegrass is typically based around acoustic stringed instruments, such as mandolin, acoustic guitar, banjo, fiddle, and upright bass, with or without vocals. Bluegrass bands have included instruments as diverse as the resonator guitar (Dobro), accordion, harmonica, piano, autoharp, drums, Drum kit, electric guitar, and electric versions of all other common bluegrass instruments, though these are considered to be more progressive and are a departure from the traditional bluegrass style.

Besides instrumentation, a distinguishing characteristic of bluegrass is vocal harmony featuring two, three, or four parts, often featuring a dissonant or modal sound in the highest voice (see modal frame). This vocal style has been characterized as the "high lonesome sound." There is also an emphasis on traditional songs, often with sentimental or religious themes.

First generation bluegrass musicians dominated the genre from its beginnings in the mid-1940s through the mid-1960s. This group generally consists of those who were playing during the "Golden Age" in the 1950s, including Bill Monroe and his Blue Grass Boys, the Stanley Brothers, Lester Flatt & Earl Scruggs with the Foggy Mountain Boys, Ervin T. Rouse, who wrote the standard "Orange Blossom Special," Reno and Smiley, the Sauceman Brothers, Lonesome Pine Fiddlers, Jim & Jesse, Jimmy Martin and the Osborne Brothers, Mac Wiseman, Mac Martin and the Dixie Travelers, Carl Story and his Rambling Mountaineers, Buzz Busby, The Lilly Brothers, Jim Eanes and Earl Taylor.

Bluegrass's second generation came to prominence in the mid- to late-1960s, although many of the second generation musicians were playing (often at young ages) in first generation bands prior to this. Among the most prominent second generation musicians are J. D. Crowe, Doyle Lawson, Sam Bush, John Hartford, Norman Blake, Frank Wakefield, Harley "Red" Allen, Bill Keith, Del McCoury and Tony Rice. With the second generation came a growth in progressive bluegrass, as exemplified by second generation bands such as the New Grass Revival, Seldom Scene, The Kentucky Colonels, The Dillards. In that vein, first-generation bluegrass fiddler Vassar Clements, progressive mandolin player David Grisman, Grateful Dead frontman Jerry Garcia (on banjo) and Peter Rowan as lead vocalist collaborated in the band called Old and in the Way; the Garcia connection helped to expose progressive and traditional bluegrass to a rock music audience.

There are three major sub-genres of bluegrass and an unofficial sub-genre :

Traditional bluegrass, as the name implies, emphasizes the traditional elements of bluegrass music, and stands in opposition to progressive bluegrass Traditional bluegrass musicians are likely to play folk songs, songs with simple traditional chord progressions, and use only acoustic instruments

Traditional bands may use bluegrass instruments in slightly different ways (clawhammer style of banjo playing, or multiple guitars or fiddles within a band). In this sub-genre, the guitar rarely takes the lead (the notable exception being gospel songs), remaining a rhythm instrument. Melodies and lyrics tend to be simple, and a I-iv-V chord pattern is very common.

There are ideological divisions even among traditional bluegrass bands. These divisions center on the longstanding debate about what constitutes "Bluegrass Music". Most traditional bluegrass musicians don't consider progressive bluegrass to truly be "bluegrass", some going so far as to suggest bluegrass must be styled directly after Bill Monroe's bands. However, stylistic divergences in traditional bluegrass generally center around which first generation bands musicians draw inspiration from.

Examples include bands who sing in the Stanley Brothers tradition: Roy Lee Centers, Larry Sparks, Sammy Adkins, The Wilson Brothers, The Gillis Brothers and various local bands across the country. Other bands followed Lester Flatt, such as Willis Spears, Curley Seckler and Karl Shifflett.

Progressive bluegrass, also known as newgrass (a term attributed to New Grass Revival member Ebo Walker), is one of two major subgenres of bluegrass music

Progressive bluegrass came to widespread attention in the late 1960s and 1970s, as some groups began using electric instruments and importing songs from other genres (particularly rock & roll), and important musicians from that period include John Hartford, New Grass Revival, J.D. Crowe and the New South, The Dillards, Boone Creek, Country Gazette, and the Seldom Scene. However, progressive bluegrass can be traced back to one of the earliest bluegrass bands. A brief listen to the banjo and bass duets Earl Scruggs played even in the earliest days of the Foggy Mountain Boys give a hint of wild chord progressions to come. The four key distinguishing elements (not always all present) of progressive bluegrass are instrumentation (frequently including electric instruments, drums, piano, and more), songs imported or styles imitated from other musical genres (like jazz, rock and others), non-traditional chord progressions, and lengthy "jam band"-style improvisation.

Bluegrass Gospel Although nearly all bluegrass artists regularly incorporate gospel music into their repertoire "Bluegrass Gospel" has emerged as a third sub-genre

Distinctive elements of this style of bluegrass music include lyrics focused on Christian faith and theology, soulful three- or four-part harmony singing, and occasionally subdued instrumentals^. A cappella choruses are popular with bluegrass gospel artists, though the harmony structure differs somewhat from standard barbershop or choir singing. Although some "mainstream" bluegrass artists such as Doyle Lawson & Quicksilver and Third Tyme Out have produced extraordinary bluegrass gospel music, others, such as The Issacs, Mount Zion and The Churchmen have chosen to focus on it exclusively.

Western music (Cowboy songs) - is a form of folk music (and eventually country music) originally composed by and about the people who settled and worked throughout the Western United States and Western Canada.

Directly related musically to old English, Scottish, and Irish folk ballads, Western music celebrates the life of the cowboy on the open ranges and prairies of Western North America. The Mexican music of the American Southwest also influenced the development of this genre. Western music is related to country music, the latter sharing similar origins but developed in the Appalachians, thus it reflected the life of the people of that region.

Guitars, fiddles, and the accordion are the most common instruments used in Western music.

Hillbilly music - was at one time considered an acceptable label for what is now known as country music. The label, coined in 1925 by country pianist Al Hopkins, persisted until the 1950s. Now, the older name is widely deemed offensive (and inappropriate). However, the term hillbilly music is now sometimes used to describe old-time music.

By the late forties, radio stations broadcast music described as "hillbilly," originally to describe fiddlers and string bands, but was then used to describe the traditional music of the people of the Appalachian Mountains. The people who actually sang these songs and lived in the Appalachian Mountains never used these terms to describe their own music. Popular songs whose style bore characteristics of both hillbilly and African American music were referred to, in the late 1940s and early 1950s as hillbilly boogie, and in the mid-1950s as rockabilly. Elvis Presley was a prominent player of the latter genre. When the Country Music Association was founded in 1958, the term hillbilly music gradually fell out of use. However, the term rockabilly is still in common use. Later, the music industry merged hillbilly music, Western Swing, and Cowboy music, to form the current category C&W, Country and Western.

Country music   - is a blend of popular musical forms originally found in the Southern United States and the Appalachian Mountains. It has roots in traditional folk music, Celtic music, gospel music, and old-time music and evolved rapidly in the 1920s.

In the Southwestern United States a different mix of ethnic groups created the music that became the Western music of the term "Country and Western".

The term "country music" began to be used in the 1940s when the earlier term hillbilly music was deemed to be degrading, and the term was widely embraced in the 1970s, while "Country and Western" has declined in use since that time.

Traditional Country is a nebulous term -- it can refer to anything from Roy Acuff's simple songs to the electrified honky tonk of Johnny Paycheck -- but the name does evoke a specific sound, namely the long-standing tradition of simple country songs delivered with simple instrumentation and a distinct twang.

The era of Traditional Country didn't begin until the early '30s, when Jimmie Rodgers became the first national country music star. Rodgers brought the formerly rural music into the industrial era by making streamlining the music and lyrics; in the process, he made the genre a viable commercial property.

Following Rodgers' success, Old-Time music faded in popularity and Traditional Country was born. For the next 40 years, most country music fell under the Traditional Country umbrella, regardless if it was the big-band dance music of Western Swing or driving roadhouse honky tonk.

The majority of the popular artists from the '30s and '40s -- Roy Acuff, Eddy Arnold, Ernest Tubb, Hank Williams - became the foundation of the Grand Ole Opry, a weekly radio broadcast that became the definitive word of country music. This generation of musicians inspired all the artists that emerged in the following two decades, who put their own spin on Traditional Country.

Following the emergence of rock & roll, country music began to incorporate more pop production techniques, and although this Nashville Sound was smoother than the music of the '40s and early '50s, it still conformed to the conventions of Traditional Country.

During the '60s, mainstream country became progressively more pop-influenced, yet Traditional Country held strong until the early '70s, when country-pop became the dominant form of country music. Many fans of hard country turned toward the tougher sounds of progressive country and outlaw country, yet most of the country audience continued to listen to country-pop, especially since Traditional Country singers like George Jones, Conway Twitty and Loretta Lynn had turned toward that sub-genre.

By the late '70s, most new country singers were either raised on country-pop or pop/rock, and consequently, the reign of Traditional Country came to an end.

During the mid-'80s, a wave of New Traditionalist singers such as George Strait emerged, but their music tended to be influenced by contemporaries as well, making the movement as much an evolution as a revival.

MUZICA "NEAGRA"

Work song - is typically a rhythmic a cappella song sung by people working on a physical and often repetitive task. The work song is probably intended to reduce feelings of boredom

Rhythms of work songs also serve to synchronize physical movement in a gang. Frequently, the usage of verses in work songs are often improvised and sung differently each time. The improvisation provided the singers with a sometimes subversive form of expression: improvised verses sung by slaves had verses about escaping, improvised verses sung by sailors had verses complaining about the captain and the work conditions. Work songs also help to create a feeling of familiarity and connection between the workers.

Slave music in America fell into two main categories: spirituals and secular music. The secular music typically "consisted of field hollers, shouts, and moans that used folk tales and folk motifs, and that made use of homemade instruments."

Field Hollers - as well as work songs were African American styles of music from before the American Civil War, this style of music is closely related to spirituals in the sense that it expressed religious feelings and included subtle hints about ways of escaping slavery, among other things.

Slaves in New Orleans had a field area called Congo Square in which they were allowed time on Sundays to dance and sing more freely than they could on the plantations

Sea Shanties (singular "shanty", also spelled "chantey"; derived from the French word "chanter", 'to sing') -   were shipboard working songs. Because many cultures used slaves to row, these songs might also be considered slave songs.

These songs were typically performed while adjusting the rigging, raising anchor, and other tasks where men would need to pull in rhythm. These songs usually have a very punctuated rhythm precisely for this reason, along with a call-and-answer format.

Spirituals (or Negro spirituals) - are songs which were created by African slaves in America

The Jubilee Singers put on their first performance singing the old captives' songs at a religious conference in 1871. The songs were first published in 1872 in a book titled Jubilee Songs as Sung by the Jubilee Singers of Fisk University, by Thomas F. Steward. Later these religious songs became known as "Black spirituals" to distinguish this music from the spiritual music of other peoples.

Gospel music - is music that is written to express either personal or a communal belief regarding Christian life. Gospel music partly evolved from the songs slaves sang on plantations, notably work songs, and from the Protestant hymns they sang in church. However, gospel music did not derive as much from Protestant hymns as did spirituals.

Gospel music, more emotional and jubilant, also stemmed from the call-and-response singing between preacher and congregation, which became common in black churches. Gospel lyrics often call for obedience to God and avoidance of sin in order to obtain the reward of heaven's kingdom; they also celebrate God's love. Gospel style makes use of choral singing in unison or harmony, often, but not always, led by a lead singer or singers. The songs are performed with fervent enthusiasm, vigor, and spiritual inspiration, with much ornamentation in the solo vocal lines.

Contemporary gospel music in general is characterized by dominant vocals (often with strong use of harmony) referencing lyrics of a religious nature, particularly Christian. In comparison with hymns, which are generally of a statelier measure, the gospel song is expected to have a refrain and often a more syncopated rhythm.

Subgenres include contemporary gospel, urban contemporary gospel (sometimes referred to as "black gospel"), Southern gospel, and modern gospel music (now more commonly known as praise and worship music or contemporary Christian music).

Several forms of gospel music utilize choirs, use piano and/or Hammond organ, drums, bass guitar and, increasingly, electric guitar.