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Folk music

Folk music is a music genre that includes traditional folk music and the contemporary genre that evolved from the former during the 20th-century folk revival. Some types of folk music may be called world music. Traditional folk music has been defined in several ways: as music transmitted orally, music with unknown composers, music that is played on traditional instruments, music about cultural or national identity, music that changes between generations (folk process), music associated with a people's folklore, or music performed by custom over a long period of time. It has been contrasted with commercial and classical styles. The term originated in the 19th century, but folk music extends beyond that.

Starting in the mid-20th century, a new form of popular folk music evolved from traditional folk music. This process and period is called the (second) folk revival and reached a zenith in the 1960s. This form of music is sometimes called contemporary folk music or folk revival music to distinguish it from earlier folk forms. Smaller, similar revivals have occurred elsewhere in the world at other times, but the term folk music has typically not been applied to the new music created during those revivals. This type of folk music also includes fusion genres such as folk rock, folk metal, and others. While contemporary folk music is a genre generally distinct from traditional folk music, in U.S. English it shares the same name, and it often shares the same performers and venues as traditional folk music.

Definition
The terms folk music, folk song, and folk dance are comparatively recent expressions. They are extensions of the term folklore, which was coined in 1846 by the English antiquarian William Thoms to describe "the traditions, customs, and superstitions of the uncultured classes". The term further derives from the German expression Volk, in the sense of "the people as a whole" as applied to popular and national music by Johann Gottfried Herder and the German Romantics over half a century earlier. Though it is understood that folk music is the music of the people, observers find a more precise definition to be elusive. Some do not even agree that the term folk music should be used. Folk music may tend to have certain characteristics but it cannot clearly be differentiated in purely musical terms. One meaning often given is that of "old songs, with no known composers," another is that of music that has been submitted to an evolutionary "process of oral transmission... the fashioning and re-fashioning of the music by the community that give it its folk character."

Such definitions depend upon "(cultural) processes rather than abstract musical types...", upon "continuity and oral transmission...seen as characterizing one side of a cultural dichotomy, the other side of which is found not only in the lower layers of feudal, capitalist and some oriental societies but also in 'primitive' societies and in parts of 'popular cultures'". One widely used definition is simply "Folk music is what the people sing."

For Scholes, as well as for Cecil Sharp and Béla Bartók, there was a sense of the music of the country as distinct from that of the town. Folk music was already, "...seen as the authentic expression of a way of life now past or about to disappear (or in some cases, to be preserved or somehow revived)," particularly in "a community uninfluenced by art music" and by commercial and printed song. Lloyd rejected this in favor of a simple distinction of economic class yet for him, true folk music was, in Charles Seeger's words, "associated with a lower class" in culturally and socially stratified societies. In these terms, folk music may be seen as part of a "schema comprising four musical types: 'primitive' or 'tribal'; 'elite' or 'art'; 'folk'; and 'popular'."

Music in this genre is also often called traditional music. Although the term is usually only descriptive, in some cases people use it as the name of a genre. For example, the Grammy Award previously used the terms "traditional music" and "traditional folk" for folk music that is not contemporary folk music. Folk music may include most indigenous music.

Characteristics
From a historical perspective, traditional folk music had these characteristics:
 * It was transmitted through an oral tradition. Before the 20th century, ordinary people were usually illiterate; they acquired songs by memorizing them. Primarily, this was not mediated by books or recorded or transmitted media. Singers may extend their repertoire using broadsheets or song books, but these secondary enhancements are of the same character as the primary songs experienced in the flesh.
 * The music was often related to national culture. It was culturally particular; from a particular region or culture. In the context of an immigrant group, folk music acquires an extra dimension for social cohesion. It is particularly conspicuous in immigrant societies, where Greek Australians, Somali Americans, Punjabi Canadians, and others strive to emphasize their cultural identity. They learn songs and dances that originate in the countries their grandparents came from.
 * They commemorate historical and personal events. On certain days of the year, including such holidays as Christmas, Easter, and May Day, particular songs celebrate the yearly cycle. Birthdays, weddings, and funerals may also be noted with songs, dances and special costumes. Religious festivals often have a folk music component. Choral music at these events brings children and non-professional singers to participate in a public arena, giving an emotional bonding that is unrelated to the aesthetic qualities of the music.
 * The songs have been performed, by custom, over a long period of time, usually several generations.

As a side-effect, the following characteristics are sometimes present:
 * There is no copyright on the songs. Hundreds of folk songs from the 19th century have known authors but have continued in oral tradition to the point where they are considered traditional for purposes of music publishing. This has become much less frequent since the 1940s. Today, almost every folk song that is recorded is credited with an arranger.
 * Fusion of cultures: Because cultures interact and change over time, traditional songs evolving over time may incorporate and reflect influences from disparate cultures. The relevant factors may include instrumentation, tunings, voicings, phrasing, subject matter, and even production methods.

Tune
In folk music, a tune is a short instrumental piece, a melody, often with repeating sections, and usually played a number of times. A collection of tunes with structural similarities is known as a tune-family. America's Musical Landscape says "the most common form for tunes in folk music is AABB, also known as binary form."

In some traditions, tunes may be strung together in medleys or "sets."

Origins

Throughout most of human prehistory and history, listening to recorded music was not possible. Music was made by common people during both their work and leisure, as well as during religious activities. The work of economic production was often manual and communal. Manual labor often included singing by the workers, which served several practical purposes. It reduced the boredom of repetitive tasks, it kept the rhythm during synchronized pushes and pulls, and it set the pace of many activities such as planting, weeding, reaping, threshing, weaving, and milling. In leisure time, singing and playing musical instruments were common forms of entertainment and history-telling—even more common than today when electrically enabled technologies and widespread literacy make other forms of entertainment and information-sharing competitive.

Some believe that folk music originated as art music that was changed and probably debased by oral transmission while reflecting the character of the society that produced it. In many societies, especially preliterate ones, the cultural transmission of folk music requires learning by ear, although notation has evolved in some cultures. Different cultures may have different notions concerning a division between "folk" music on the one hand and of "art" and "court" music on the other. In the proliferation of popular music genres, some traditional folk music became also referred to as "World music" or "Roots music".

The English term "folklore", to describe traditional folk music and dance, entered the vocabulary of many continental European nations, each of which had its folk-song collectors and revivalists. The distinction between "authentic" folk and national and popular song in general has always been loose, particularly in America and Germany – for example, popular songwriters such as Stephen Foster could be termed "folk" in America. The International Folk Music Council definition allows that the term can also apply to music that, "...has originated with an individual composer and has subsequently been absorbed into the unwritten, living tradition of a community. But the term does not cover a song, dance, or tune that has been taken over ready-made and remains unchanged."

The post–World War II folk revival in America and in Britain started a new genre, Contemporary Folk Music, and brought an additional meaning to the term "folk music": newly composed songs, fixed in form and by known authors, which imitated some form of traditional music. The popularity of "contemporary folk" recordings caused the appearance of the category "Folk" in the Grammy Awards of 1959; in 1970 the term was dropped in favor of "Best Ethnic or Traditional Recording (including Traditional Blues)", while 1987 brought a distinction between "Best Traditional Folk Recording" and "Best Contemporary Folk Recording". After that, they had a "Traditional music" category that subsequently evolved into others. The term "folk", by the start of the 21st century, could cover singer-songwriters, such as Donovan from Scotland and American Bob Dylan, who emerged in the 1960s and much more. This completed a process to where "folk music" no longer meant only traditional folk music.

Subject matter
Traditional folk music often includes sung words, although folk instrumental music occurs commonly in dance music traditions. Narrative verse looms large in the traditional folk music of many cultures. This encompasses such forms as traditional epic poetry, much of which was meant originally for oral performance, sometimes accompanied by instruments. Many epic poems of various cultures were pieced together from shorter pieces of traditional narrative verse, which explains their episodic structure, repetitive elements, and their frequent in medias res plot developments. Other forms of traditional narrative verse relate the outcomes of battles or lament tragedies or natural disasters.

Sometimes, as in the triumphant Song of Deborah found in the Biblical Book of Judges, these songs celebrate victory. Laments for lost battles and wars, and the lives lost in them, are equally prominent in many traditions; these laments keep alive the cause for which the battle was fought. The narratives of traditional songs often also remember folk heroes such as John Henry or Robin Hood. Some traditional song narratives recall supernatural events or mysterious deaths.

Hymns and other forms of religious music are often of traditional and unknown origin. Western musical notation was originally created to preserve the lines of Gregorian chant, which before its invention was taught as an oral tradition in monastic communities. Traditional songs such as Green grow the rushes, O present religious lore in a mnemonic form, as do Western Christmas carols and similar traditional songs.

Work songs frequently feature call and response structures and are designed to enable the laborers who sing them to coordinate their efforts in accordance with the rhythms of the songs. They are frequently, but not invariably, composed. In the American armed forces, a lively oral tradition preserves jody calls ("Duckworth chants") which are sung while soldiers are on the march. Professional sailors made similar use of a large body of sea shanties. Love poetry, often of a tragic or regretful nature, prominently figures in many folk traditions. Nursery rhymes, children’s songs and nonsense verse used to amuse or quiet children also are frequent subjects of traditional songs.

Folk song transformations and variations
Music transmitted by word of mouth through a community, in time, develops many variants, since this transmission cannot produce word-for-word and note-for-note accuracy. In addition, folk singers may choose to modify the songs they hear.

For example, around 1970 the song Mullā Mohammed Jān spread from Herat to the rest of Afghanistan, and Iran where it was recorded. Due to its repetitive refrain and the predictability of the second half of each verse, it allowed for both its popularization, and for each singer to create their own version of the song without being overly-concerned for a melody or restrictive poetic rhythm.

Because variants proliferate naturally, there is generally no "authoritative" version of song. Researchers in traditional songs have encountered countless versions of the Barbara Allen ballad throughout the English-speaking world, and these versions often differ greatly from each other. The original is not known; many versions can lay an equal claim to authenticity.

Influential folklorist Cecil Sharp felt that these competing variants of a traditional song would undergo a process of improvement akin to biological natural selection: only those new variants that were the most appealing to ordinary singers would be picked up by others and transmitted onward in time. Thus, over time we would expect each traditional song to become more aesthetically appealing, due to incremental community improvement.

Literary interest in the popular ballad form dates back at least to Thomas Percy and William Wordsworth. English Elizabethan and Stuart composers had often evolved their music from folk themes, the classical suite was based upon stylised folk-dances, and Joseph Haydn's use of folk melodies is noted. But the emergence of the term "folk" coincided with an "outburst of national feeling all over Europe" that was particularly strong at the edges of Europe, where national identity was most asserted. Nationalist composers emerged in Central Europe, Russia, Scandinavia, Spain and Britain: the music of Dvořák, Smetana, Grieg, Rimsky-Korsakov, Brahms, Liszt, de Falla, Wagner, Sibelius, Vaughan Williams, Bartók, and many others drew upon folk melodies.

Regional forms
While the loss of traditional folk music in the face of the rise of popular music is a worldwide phenomenon, it is not one occurring at a uniform rate throughout the world. The process is most advanced "where industrialization and commercialisation of culture are most advanced" but also occurs more gradually even in settings of lower technological advancement. However, the loss of traditional music is slowed in nations or regions where traditional folk music is a badge of cultural or national identity.

Early folk music, fieldwork and scholarship
Much of what is known about folk music prior to the development of audio recording technology in the 19th century comes from fieldwork and writings of scholars, collectors and proponents.

19th-century Europe
Starting in the 19th century, academics and amateur scholars, taking note of the musical traditions being lost, initiated various efforts to preserve the music of the people. One such effort was the collection by Francis James Child in the late 19th century of the texts of over three hundred ballads in the English and Scots traditions (called the Child Ballads), some of which predated the 16th century.

Contemporaneously with Child, the Reverend Sabine Baring-Gould and later Cecil Sharp worked to preserve a great body of English rural traditional song, music and dance, under the aegis of what became and remains the English Folk Dance and Song Society (EFDSS). Sharp campaigned with some success to have English traditional songs (in his own heavily edited and expurgated versions) to be taught to school children in hopes of reviving and prolonging the popularity of those songs. Throughout the 1960s and early to mid-1970s, American scholar Bertrand Harris Bronson published an exhaustive four-volume collection of the then-known variations of both the texts and tunes associated with what came to be known as the Child Canon. He also advanced some significant theories concerning the workings of oral-aural tradition.

Similar activity was also under way in other countries. One of the most extensive was perhaps the work done in Riga by Krisjanis Barons, who between the years 1894 and 1915 published six volumes that included the texts of 217,996 Latvian folk songs, the Latvju dainas. In Norway the work of collectors such as Ludvig Mathias Lindeman was extensively used by Edvard Grieg in his Lyric Pieces for piano and in other works, which became immensely popular.

Around this time, composers of classical music developed a strong interest in collecting traditional songs, and a number of composers carried out their own field work on traditional music. These included Percy Grainger and Ralph Vaughan Williams in England and Béla Bartók in Hungary. These composers, like many of their predecessors, both made arrangements of folk songs and incorporated traditional material into original classical compositions.

North America

The advent of audio recording technology provided folklorists with a revolutionary tool to preserve vanishing musical forms. The earliest American folk music scholars were with the American Folklore Society (AFS), which emerged in the late 1800s. Their studies expanded to include Native American music, but still treated folk music as a historical item preserved in isolated societies as well. In North America, during the 1930s and 1940s, the Library of Congress worked through the offices of traditional music collectors Robert Winslow Gordon, Alan Lomax  and others to capture as much North American field material as possible. John Lomax (the father of Alan Lomax) was the first prominent scholar to study distinctly American folk music such as that of cowboys and southern blacks. His first major published work was in 1911, Cowboy Songs and Other Frontier Ballads. and was arguably the most prominent US folk music scholar of his time, notably during the beginnings of the folk music revival in the 1930s and early 1940s. Cecil Sharp also worked in America, recording the traditional songs of the Appalachian Mountains in 1916–1918 in collaboration with Maud Karpeles and Olive Dame Campbell and is considered the first major scholar covering American folk music. Campbell and Sharp are represented under other names by actors in the modern movie Songcatcher.

One strong theme amongst folk scholars in the early decades of the 20th century was regionalism, the analysis of the diversity of folk music (and related cultures) based on regions of the US rather than based on a given song's historical roots. Later, a dynamic of class and circumstances was added to this. The most prominent regionalists were literary figures with a particular interest in folklore. Carl Sandburg often traveled the U.S. as a writer and a poet. He also collected songs in his travels and, in 1927, published them in the book The American Songbag. Rachel Donaldson, a historian who worked for Vanderbilt, later stated this about The American Songbird in her analysis of the folk music revival. "In his collections of folk songs, Sandburg added a class dynamic to popular understandings of American folk music. This was the final element of the foundation upon which the early folk music revivalists constructed their own view of Americanism. Sandburg's working-class Americans joined with the ethnically, racially, and regionally diverse citizens that other scholars, public intellectuals, and folklorists celebrated their own definitions of the American folk, definitions that the folk revivalists used in constructing their own understanding of American folk music, and an overarching American identity".

Prior to the 1930s, the study of folk music was primarily the province of scholars and collectors. The 1930s saw the beginnings of larger scale themes, commonalities, and linkages in folk music developing in the populace and practitioners as well, often related to the Great Depression. Regionalism and cultural pluralism grew as influences and themes. During this time folk music began to become enmeshed with political and social activism themes and movements. Two related developments were the U.S. Communist Party's interest in folk music as a way to reach and influence Americans, and politically active prominent folk musicians and scholars seeing communism as a possible better system, through the lens of the Great Depression. Woody Guthrie exemplifies songwriters and artists with such an outlook.

Folk music festivals proliferated during the 1930s. President Franklin Roosevelt was a fan of folk music, hosted folk concerts at the White House, and often patronized folk festivals. One prominent festival was Sarah Gertrude Knott's National Folk Festival, established in St. Louis, Missouri in 1934. Under the sponsorship of the Washington Post, the festival was held in Washington, DC at Constitution Hall from 1937 to 1942. The folk music movement, festivals, and the wartime effort were seen as forces for social goods such as democracy, cultural pluralism, and the removal of culture and race-based barriers.

The American folk music revivalists of the 1930s approached folk music in different ways. Three primary schools of thought emerged: "Traditionalists" (e.g. Sarah Gertrude Knott and John Lomax) emphasized the preservation of songs as artifacts of deceased cultures. "Functional" folklorists (e.g. Botkin and Alan Lomax) maintained that songs only retain relevance when used by those cultures which retain the traditions which birthed those songs. "Left-wing" folk revivalists (e.g. Charles Seeger and Lawrence Gellert) emphasized music's role "in 'people's' struggles for social and political rights". By the end of the 1930s these and others had turned American folk music into a social movement.

Sometimes folk musicians became scholars and advocates themselves. For example, Jean Ritchie (1922–2015) was the youngest child of a large family from Viper, Kentucky that had preserved many of the old Appalachian traditional songs. Ritchie, living in a time when the Appalachians had opened up to outside influence, was university educated and ultimately moved to New York City, where she made a number of classic recordings of the family repertoire and published an important compilation of these songs.

In January 2012, the American Folklife Center at the Library of Congress, with the Association for Cultural Equity, announced that they would release Lomax's vast archive of 1946 and later recording in digital form. Lomax spent the last 20 years of his life working on an Interactive Multimedia educational computer project he called the Global Jukebox, which included 5,000 hours of sound recordings, 400,000 feet of film, 3,000 videotapes, and 5,000 photographs. As of March 2012, this has been accomplished. Approximately 17,400 of Lomax's recordings from 1946 and later have been made available free online. This material from Alan Lomax's independent archive, begun in 1946, which has been digitized and offered by the Association for Cultural Equity, is "distinct from the thousands of earlier recordings on acetate and aluminum discs he made from 1933 to 1942 under the auspices of the Library of Congress. This earlier collection—which includes the famous Jelly Roll Morton, Woody Guthrie, Lead Belly, and Muddy Waters sessions, as well as Lomax's prodigious collections made in Haiti and Eastern Kentucky (1937) — is the provenance of the American Folklife Center" at the library of Congress.

Africa
Africa is a vast continent and its regions and nations have distinct musical traditions. The music of North Africa for the most part has a different history from Sub-Saharan African music traditions.

The music and dance forms of the African diaspora, including African American music and many Caribbean genres like soca, calypso and Zouk; and Latin American music genres like the samba, Cuban rumba, salsa; and other clave (rhythm)-based genres, were founded to varying degrees on the music of enslaved Africans, which has in turn influenced African popular music.

Asia
Many Asian civilizations distinguish between art/court/classical styles and "folk" music. For example, the late Alam Lohar is an example of a South Asian singer who was classified as a folk singer.

Khunung Eshei/Khuland Eshei is an ancient folk song from India, a country of Asia, of Meiteis of Manipur, that is an example of Asian folk music, and how they put it into its own genre.

Folk music of China
Archaeological discoveries date Chinese folk music back 7000 years; it is largely based on the pentatonic scale.

Han traditional weddings and funerals usually include a form of oboe called a suona, and apercussive ensembles called a chuigushou. Ensembles consisting of mouth organs (sheng), shawms (suona), flutes (dizi) and percussion instruments (especially yunluo gongs) are popular in northern villages; their music is descended from the imperial temple music of Beijing, Xi'an, Wutai shan and Tianjin. Xi'an drum music, consisting of wind and percussive instruments, is popular around Xi'an, and has received some commercial popularity outside of China. Another important instrument is the sheng, a type of Chinese pipe, an ancient instrument that is ancestor of all Western free reed instruments, such as the accordion. Parades led by Western-type brass bands are common, often competing in volume with a shawm/chuigushou band.

In southern Fujian and Taiwan, Nanyin or Nanguan is a genre of traditional ballads. They are sung by a woman accompanied by a xiao and a pipa, as well as other traditional instruments. The music is generally sorrowful and typically deals with love-stricken people. Further south, in Shantou, Hakka and Chaozhou, zheng ensembles are popular. Sizhu ensembles use flutes and bowed or plucked string instruments to make harmonious and melodious music that has become popular in the West among some listeners. These are popular in Nanjing and Hangzhou, as well as elsewhere along the southern Yangtze area. Jiangnan Sizhu (silk and bamboo music from Jiangnan) is a style of instrumental music, often played by amateur musicians in tea houses in Shanghai. Guangdong Music or Cantonese Music is instrumental music from Guangzhou and surrounding areas. The music from this region influenced Yueju (Cantonese Opera) music, which would later grow popular during the self-described "Golden Age" of China under the PRC.

Folk songs have been recorded since ancient times in China. The term Yuefu was used for a broad range of songs such as ballads, laments, folk songs, love songs, and songs performed at court. China is a vast country, with a multiplicity of linguistic and geographic regions. Folk songs are categorized by geographic region, language type, ethnicity, social function (e.g. work song, ritual song, courting song) and musical type. Modern anthologies collected by Chinese folklorists distinguish between traditional songs, revolutionary songs, and newly-invented songs. The songs of northwest China are known as "flower songs" (hua'er), a reference to beautiful women, while in the past they were notorious for their erotic content. The village "mountain songs" (shan'ge) of Jiangsu province were also well-known for their amorous themes. Other regional song traditions include the "strummed lyrics" (tanci) of the Lower Yangtze Delta, the Cantonese Wooden Fish tradition (muyu or muk-yu) and the Drum Songs (guci) of north China.

In the twenty-first century many cherished Chinese folk songs have been inscribed in the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. In the process, songs once seen as vulgar are now being reconstructed as romantic courtship songs. Regional song competitions, popular in many communities, have promoted professional folk singing as a career, with some individual folk singers having gained national prominence.

Traditional folk music of Sri Lanka
The art, music and dance of Sri Lanka derive from the elements of nature, and have been enjoyed and developed in the Buddhist environment. The music is of several types and uses only a few types of instruments. The folk songs and poems were used in social gatherings to work together. The Indian influenced classical music has grown to be unique. The traditional drama, music and songs of Sinhala Light Music are typically Sri Lankan. The temple paintings and carvings feature birds, elephants, wild animals, flowers, and trees, and the Traditional 18 Dances display the dancing of birds and animals. For example:
 * Mayura Wannama – The dance of the peacock
 * Hanuma Wannama – The dance of the monkey
 * Gajaga Wannama – The dance of the elephant

Musical types include: The classical Sinhalese orchestra consists of five categories of instruments, but among the percussion instruments, the drum is essential for dance. The vibrant beat of the rhythm of the drums form the basic of the dance. The dancers' feet bounce off the floor and they leap and swirl in patterns that reflect the complex rhythms of the drum beat. This drum beat may seem simple on the first hearing but it takes a long time to master the intricate rhythms and variations, which the drummer sometimes can bring to a crescendo of intensity. There are six common types of drums falling within 3 styles (one-faced, two-faced, and flat-faced):
 * Local drama music includes Kolam and Nadagam types. Kolam music is based on low country tunes primarily to accompany mask dance in exorcism rituals. It is considered less developed/evolved, true to the folk tradition and a preserving of a more ancient artform. It is limited to approximately 3–4 notes and is used by the ordinary people for pleasure and entertainment.
 * Nadagam music is a more developed form of drama influenced from South Indian street drama which was introduced by some south Indian artists. Phillippu Singho from Negombo in 1824 performed "Harishchandra Nadagama" in Hnguranketha which was originally written in the Telingu language. Later "Maname", "Sanda kinduru" and others were introduced. Don Bastian of Dehiwala introduced Noorthy firstly by looking at Indian dramas and then John de Silva developed it as did Ramayanaya in 1886.
 * Sinhala light music is currently the most popular type of music in Sri Lanka and enriched with the influence of folk music, kolam music, nadagam music, noorthy music, film music, classical music, Western music, and others. Some artists visited India to learn music and later started introducing light music. Ananda Samarakone was the pioneer of this and also composed the national anthem.
 * The typical Sinhala Dance is identified as the Kandyan dance and the Gatabera drum is indispensable to this dance.
 * Yak-bera is the demon drum or the drum used in low country dance in which the dancers wear masks and perform devil dancing, which has become a highly developed form of art.
 * The Daula is a barrel-shaped drum, and it was used as a companion drum with a Thammattama in the past, to keep strict time with the beat.
 * The Thammattama is a flat, two-faced drum. The drummer strikes the drum on the two surfaces on top with sticks, unlike the others where you drum on the sides. This is a companion drum to the aforementioned Dawula.
 * A small double-headed hand drum is used to accompany songs. It is primarily heard in the poetry dances like vannam.
 * The Rabana is a flat-faced circular drum and comes in several sizes. The large Rabana - called the Banku Rabana - has to be placed on the floor like a circular short-legged table and several people (traditionally women) can sit around it and beat on it with both hands. This is used in festivals such as the Sinhalese New Year and ceremonies such as weddings. The resounding beat of the Rabana symbolizes the joyous moods of the occasion. The small Rabana is a form of mobile drum beat since the player carries it wherever the person goes.

Other instruments include:
 * The Thalampata – 2 small cymbals joined by a string.
 * The wind section, is dominated by an instrument akin to the clarinet. This is not normally used for dances. This is important to note because the Sinhalese dance is not set to music as the western world knows it; rhythm is king.
 * The flutes of metal such as silver & brass produce shrill music to accompany Kandyan Dances, while the plaintive strains of music of the reed flute may pierce the air in devil-dancing. The conch-shell (Hakgediya) is another form of a natural instrument, and the player blows it to announce the opening of ceremonies of grandeur.
 * The Ravanahatha (ravanhatta, rawanhattha, ravanastron or ravana hasta veena) is a bowed fiddle that was once popular in Western India. It is believed to have originated among the Hela civilisation of Sri Lanka in the time of King Ravana. The bowl is made of cut coconut shell, the mouth of which is covered with goat hide. A dandi, made of bamboo, is attached to this shell. The principal strings are two: one of steel and the other of a set of horsehair. The long bow has jingle bells

Australia
Indigenous Australian music includes the music of Aboriginal Australians and Torres Strait Islanders, who are collectively called Indigenous Australians; it incorporates a variety of distinctive traditional music styles practiced by Indigenous Australian peoples, as well as a range of contemporary musical styles of and fusion with European traditions as interpreted and performed by indigenous Australian artists. Music has formed an integral part of the social, cultural and ceremonial observances of these peoples, down through the millennia of their individual and collective histories to the present day. The traditional forms include many aspects of performance and musical instruments unique to particular regions or Indigenous Australian groups. Equal elements of musical tradition are common through much of the Australian continent, and even beyond. The culture of the Torres Strait Islanders is related to that of adjacent parts of New Guinea and so their music is also related. Music is a vital part of Indigenous Australians' cultural maintenance.

Folk song traditions were taken to Australia by early settlers from England, Scotland and Ireland and gained particular foothold in the rural outback. The rhyming songs, poems and tales written in the form of bush ballads often relate to the itinerant and rebellious spirit of Australia in The Bush, and the authors and performers are often referred to as bush bards. The 19th century was the golden age of bush ballads. Several collectors have catalogued the songs including John Meredith whose recording in the 1950s became the basis of the collection in the National Library of Australia.

The songs tell personal stories of life in the wide open country of Australia. Typical subjects include mining, raising and droving cattle, sheep shearing, wanderings, war stories, the 1891 Australian shearers' strike, class conflicts between the landless working class and the squatters (landowners), and outlaws such as Ned Kelly, as well as love interests and more modern fare such as trucking. The most famous bush ballad is "Waltzing Matilda", which has been called "the unofficial national anthem of Australia".

Celtic traditional music
Celtic music is a term used by artists, record companies, music stores and music magazines to describe a broad grouping of musical genres that evolved out of the folk musical traditions of the Celtic peoples. These traditions include Irish, Scottish, Manx, Cornish, Welsh, and Breton traditions. Asturian and Galician music is often included, though there is no significant research showing that this has any close musical relationship. Brittany's Folk revival began in the 1950s with the "bagadoù" and the "kan-ha-diskan" before growing to world fame through Alan Stivell's work since the mid-1960s.

In Ireland, The Clancy Brothers and Tommy Makem (although its members were all Irish-born, the group became famous while based in New York's Greenwich Village ), The Dubliners, Clannad, Planxty, The Chieftains, The Pogues, The Corrs, The Irish Rovers, and a variety of other folk bands have done much over the past few decades to revitalise and re-popularise Irish traditional music. These bands were rooted, to a greater or lesser extent, in a tradition of Irish music and benefited from the efforts of artists such as Seamus Ennis and Peter Kennedy.

In Scotland, The Corries, Silly Wizard, Capercaillie, Runrig, Jackie Leven, Julie Fowlis, Karine Polwart, Alasdair Roberts,  Dick Gaughan, Wolfstone, Boys of the Lough, and The Silencers have kept Scottish folk vibrant and fresh by mixing traditional Scottish and Gaelic folk songs with more contemporary genres. These artists have also been commercially successful in continental Europe and North America. There is an emerging wealth of talent in the Scottish traditional music scene, with bands such as Mànran, Skipinnish, Barluath and Breabach and solo artists such as Patsy Reid, Robyn Stapleton and Mischa MacPherson gaining a lot of success in recent years.

Central and Eastern Europe
During the Eastern Bloc era, national folk dancing was actively promoted by the state. Dance troupes from Russia and Poland toured non-communist Europe from about 1937 to 1990. The Red Army Choir recorded many albums, becoming the most popular military band. Eastern Europe is also the origin of the Jewish Klezmer tradition. The polka is a central European dance and also a genre of dance music familiar throughout Europe and the Americas. It originated in the middle of the 19th century in Bohemia. Polka is still a popular genre of folk music in many European countries and is performed by folk artists in Poland, Latvia, Lithuania, Czech Republic, Netherlands, Croatia, Slovenia, Germany, Hungary, Austria, Switzerland, Italy, Ukraine, Belarus, Russia and Slovakia. Local varieties of this dance are also found in the Nordic countries, United Kingdom, Republic of Ireland, Latin America (especially Mexico), and in the United States.

German Volkslieder perpetuated by Liederhandschriften manuscripts like Carmina Burana date back to medieval Minnesang and Meistersinger traditions. Those folk songs revived in the late 18th century period of German Romanticism, first promoted by Johann Gottfried Herder and other advocates of the Enlightenment, later compiled by Achim von Arnim and Clemens Brentano (Des Knaben Wunderhorn) as well as by Ludwig Uhland.

The Volksmusik and folk dances genre, especially in the Alpine regions of Bavaria, Austria, Switzerland (Kuhreihen) and South Tyrol, up to today has lingered in rustic communities against the backdrop of industrialisation —Low German shanties or the Wienerlied (Schrammelmusik) being notable exceptions. Slovene folk music in Upper Carniola and Styria also originated from the Alpine traditions, like the prolific Lojze Slak Ensemble. Traditional Volksmusik is not to be confused with commercial Volkstümliche Musik, which is a derivation of that.

The Hungarian group Muzsikás played numerous American tours and participated in the Hollywood movie The English Patient while the singer Márta Sebestyén worked with the band Deep Forest. The Hungarian táncház movement, started in the 1970s, involves strong cooperation between musicology experts and enthusiastic amateurs. However, traditional Hungarian folk music and folk culture barely survived in some rural areas of Hungary, and it has also begun to disappear among the ethnic Hungarians in Transylvania. The táncház movement revived broader folk traditions of music, dance, and costume together and created a new kind of music club. The movement spread to ethnic Hungarian communities elsewhere in the world.

Balkan music
Balkan folk music was influenced by the mingling of Balkan ethnic groups in the period of the Ottoman Empire. It comprises the music of Bosnia and Herzegovina, Bulgaria, Croatia, Greece, Montenegro, Serbia, Romania, North Macedonia, Albania, some of the historical states of Yugoslavia or Serbia and Montenegro and geographical regions such as Thrace. Some music is characterised by complex rhythm.

A notable act is the Mystery of the Bulgarian Voices, which won the Grammy Award for Best Traditional Folk Recording at the 32nd annual ceremony.

An important part of the whole Balkan folk music is the music of the local Romani ethnic minority, which is called tallava and brass band music.

Nordic folk music

Nordic folk music includes a number of traditions in Northern European, especially Scandinavian, countries. The Nordic countries are generally taken to include Iceland, Norway, Finland, Sweden, Denmark and Greenland. Sometimes it is taken to include the Baltic countries of Estonia, Latvia and Lithuania.

The many regions of the Nordic countries share certain traditions, many of which have diverged significantly, like Psalmodicon of Denmark, Sweden, and Norway. It is possible to group together the Baltic states (or, sometimes, only Estonia) and parts of northwest Russia as sharing cultural similarities, although the relationship has gone cold in recent years. Contrast with Norway, Sweden, Denmark and the Atlantic islands of Iceland and the Faroe Islands, which share virtually no similarities of that kind. Greenland's Inuit culture has its own unique musical traditions. Finland shares many cultural similarities with both the Baltic nations and the Scandinavian nations. The Sami of Sweden, Norway, Finland and Russia have their own unique culture, with ties to the neighboring cultures.

Swedish folk music is a genre of music based largely on folkloric collection work that began in the early 19th century in Sweden. The primary instrument of Swedish folk music is the fiddle. Another common instrument, unique to Swedish traditions, is the nyckelharpa. Most Swedish instrumental folk music is dance music; the signature music and dance form within Swedish folk music is the polska. Vocal and instrumental traditions in Sweden have tended to share tunes historically, though they have been performed separately. Beginning with the folk music revival of the 1970s, vocalists and instrumentalists have also begun to perform together in folk music ensembles.

Latin America
The folk music of the Americas consists of the encounter and union of three main musical types: European traditional music, traditional music of the American natives, and tribal African music that arrived with slaves from that continent.

The particular case of Latin and South American music points to Andean music among other native musical styles (such as Caribbean and pampean), Iberian music of Spain and Portugal, and generally speaking African tribal music, the three of which fused together evolving in differentiated musical forms in Central and South America.

Andean music comes from the region of the Quechuas, Aymaras, and other peoples that inhabit the general area of the Inca Empire prior to European contact. It includes folklore music of parts of Bolivia, Ecuador, Chile, Colombia, Peru and Venezuela. Andean music is popular to different degrees across Latin America, having its core public in rural areas and among indigenous populations. The Nueva Canción movement of the 1970s revived the genre across Latin America and brought it to places where it was unknown or forgotten.

Nueva canción (Spanish for 'new song') is a movement and genre within Latin American and Iberian folk music, folk-inspired music, and socially committed music. In some respects its development and role is similar to the second folk music revival in North America. This includes evolution of this new genre from traditional folk music, essentially contemporary folk music except that that English genre term is not commonly applied to it. Nueva cancion is recognized as having played a powerful role in the social upheavals in Portugal, Spain and Latin America during the 1970s and 1980s.

Nueva cancion first surfaced during the 1960s as "The Chilean New Song" in Chile. The musical style emerged shortly afterwards in Spain and areas of Latin America where it came to be known under similar names. Nueva canción renewed traditional Latin American folk music, and with its political lyrics it was soon associated with revolutionary movements, the Latin American New Left, Liberation Theology, hippie and human rights movements. It would gain great popularity throughout Latin America, and it is regarded as a precursor to Rock en español.

Cueca is a family of musical styles and associated dances from Chile, Bolivia and Peru.

Trova and Son are styles of traditional Cuban music originating in the province of Oriente that includes influences from Spanish song and dance, such as Bolero and contradanza as well as Afro-Cuban rhythm and percussion elements.

Moda de viola is the name designated to Brazilian folk music. It is often performed with a 6-string nylon acoustic guitar, but the most traditional instrument is the viola caipira. The songs basically detailed the difficulties of life of those who work in the country. The themes are usually associated with the land, animals, folklore, impossible love and separation. Although there are some upbeat songs, most of them are nostalgic and melancholic.

Canada

Canada's traditional folk music is particularly diverse. Even prior to liberalizing its immigration laws in the 1960s, Canada was ethnically diverse with dozens of different Indigenous and European groups present. In terms of music, academics do not speak of a Canadian tradition, but rather ethnic traditions (Acadian music, Irish-Canadian music, Blackfoot music, Innu music, Inuit music, Métis fiddle, etc.) and later in Eastern Canada regional traditions (Newfoundland music, Cape Breton fiddling, Quebecois music, etc.)

"Traditional folk music of European origin has been present in Canada since the arrival of the first French and British settlers in the 16th and 17th centuries....They fished the coastal waters and farmed the shores of what became Newfoundland, Nova Scotia, New Brunswick, Prince Edward Island, and the St Lawrence River valley of Quebec.

The fur trade and its voyageurs brought this farther north and west into Canada; later lumbering operations and lumberjacks continued this process.

Agrarian settlement in eastern and southern Ontario and western Quebec in the early 19th century established a favorable milieu for the survival of many Anglo-Canadian folksongs and broadside ballads from Great Britain and the US. Despite massive industrialization, folk music traditions have persisted in many areas until today. In the north of Ontario, a large Franco-Ontarian population kept folk music of French origin alive.

Populous Acadian communities in the Atlantic provinces contributed their song variants to the huge corpus of folk music of French origin centred in the province of Quebec. A rich source of Anglo-Canadian folk music can be found in the Atlantic region, especially Newfoundland. Completing this mosaic of musical folklore is the Gaelic music of Scottish settlements, particularly in Cape Breton, and the hundreds of Irish songs whose presence in eastern Canada dates from the Irish famine of the 1840s, which forced the large migrations of Irish to North America."

"Knowledge of the history of Canada", wrote Isabelle Mills in 1974, "is essential in understanding the mosaic of Canadian folk song. Part of this mosaic is supplied by the folk songs of Canada brought by European and Anglo-Saxon settlers to the new land." She describes how the French colony at Québec brought French immigrants, followed before long by waves of immigrants from Great Britain, Germany, and other European countries, all bringing music from their homelands, some of which survives into the present day. Ethnographer and folklorist Marius Barbeau estimated that well over ten thousand French folk songs and their variants had been collected in Canada. Many of the older ones had by then died out in France.

Music as professionalized paid entertainment grew relatively slowly in Canada, especially remote rural areas, through the 19th and early 20th centuries. While in urban music clubs of the dance hall/vaudeville variety became popular, followed by jazz, rural Canada remained mostly a land of traditional music. Yet when American radio networks began broadcasting into Canada in the 1920s and 1930s, the audience for Canadian traditional music progressively declined in favour of American Nashville-style country music and urban styles like jazz. The Americanization of Canadian music led the Canadian Radio League to lobby for a national public broadcaster in the 1930s, eventually leading to the creation of the Canadian Broadcasting Corporation (CBC) in 1936. The CBC promoted Canadian music, including traditional music, on its radio and later television services, but the mid-century craze for all things "modern" led to the decline of folk music relative to rock and pop. Canada was however influenced by the folk music revival of the 1960s, when local venues such as the Montreal Folk Workshop, and other folk clubs and coffee houses across the country, became crucibles for emerging songwriters and performers as well as for interchange with artists visiting from abroad.

United States
American traditional music is also called roots music. Roots music is a broad category of music including bluegrass, country music, gospel, old time music, jug bands, Appalachian folk, blues, Cajun and Native American music. The music is considered American either because it is native to the United States or because it developed there, out of foreign origins, to such a degree that it struck musicologists as something distinctly new. It is considered "roots music" because it served as the basis of music later developed in the United States, including rock and roll, contemporary folk music, rhythm and blues, and jazz. Some of these genres are considered to be traditional folk music.
 * Cajun music, an emblematic music of Louisiana, is rooted in the ballads of the French-speaking Acadians of Canada. Cajun music is often mentioned in tandem with the Creole-based, Cajun-influenced zydeco form, both of Acadiana origin. These French Louisiana sounds have influenced American popular music for many decades, especially country music, and have influenced pop culture through mass media, such as television commercials.
 * Appalachian music is the traditional music of the region of Appalachia in the Eastern United States. It derives from various European and African influences, including English ballads, Irish and Scottish traditional music (especially fiddle music), 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. Instruments typically used to perform Appalachian music include the banjo, American fiddle, fretted dulcimer, and guitar. Early recorded Appalachian musicians include Fiddlin' John Carson, Henry Whitter, Bascom Lamar Lunsford, the Carter Family, Clarence Ashley, Frank Proffitt, and Dock Boggs, all of whom were initially recorded in the 1920s and 1930s. Several Appalachian musicians obtained renown during the folk revival of the 1950s and 1960s, including Jean Ritchie, Roscoe Holcomb, Ola Belle Reed, Lily May Ledford, and Doc Watson. Country and bluegrass artists such as Loretta Lynn, Roy Acuff, Dolly Parton, Earl Scruggs, Chet Atkins, and Don Reno were heavily influenced by traditional Appalachian music. Artists such as Bob Dylan, Dave Van Ronk, Jerry Garcia, and Bruce Springsteen have performed Appalachian songs or rewritten versions of Appalachian songs.
 * The Carter Family was a traditional American folk music group that recorded between 1927 and 1956. Their music had a profound impact on bluegrass, country, Southern gospel, pop and rock musicians. They were the first vocal group to become country music stars; a beginning of the divergence of country music from traditional folk music. Their recordings of such songs as "Wabash Cannonball" (1932), "Will the Circle Be Unbroken" (1935), "Wildwood Flower" (1928), and "Keep On the Sunny Side" (1928) made them country standards.
 * Oklahoma and southern US plains: Before recorded history American Indians in this area used songs and instrumentation; music and dance remain the core of ceremonial and social activities. "Stomp dance" remains at its core, a call and response form; instrumentation is provided by rattles or shackles worn on the legs of women. "Other southeastern nations have their own complexes of sacred and social songs, including those for animal dances and friendship dances, and songs that accompany stickball games. Central to the music of the southern Plains Indians is the drum, which has been called the heartbeat of Plains Indian music. Most of that genre can be traced back to activities of hunting and warfare, upon which plains culture was based." The drum is central to the music of the southern plains Indians. During the reservation period, they used music to relieve boredom. Neighbors gathered, exchanged and created songs and dances; this is a part of the roots of the modern intertribal powwow. Another common instrument is the courting flute.
 * African-American folk music in the area has roots in slavery and emancipation. Sacred music—a capella and instrumentally-accompanied—is at the heart of the tradition. Early spirituals framed Christian beliefs within native practices and were heavily influenced by the music and rhythms of Africa." Spirituals are prominent, and often use a call and response pattern. "Gospel developed after the Civil War (1861–1865). It relied on biblical text for much of its direction, and the use of metaphors and imagery was common. Gospel is a "joyful noise", sometimes accompanied by instrumentation and almost always punctuated by hand clapping, toe tapping, and body movement." "Shape-note or Sacred Harp singing developed in the early 19th century as a way for itinerant singing instructors to teach church songs in rural communities. They taught using song books in which musical notations of tones were represented by geometric shapes that were designed to associate a shape with its pitch. Sacred harp singing became popular in many Oklahoma rural communities, regardless of ethnicity." Later the blues tradition developed, with roots in and parallels to sacred music. Then jazz developed, born from a "blend of ragtime, gospel, and blues"
 * Anglo-Scots-Irish music traditions gained a place in Oklahoma after the Land Run of 1889. Because of its size and portability, the fiddle was the core of early Oklahoma Anglo music, but other instruments such as the guitar, mandolin, banjo, and steel guitar were added later. Various Oklahoma music traditions trace their roots to the British Isles, including cowboy ballads, western swing, and contemporary country and western." Mexican immigrants began to reach Oklahoma in the 1870s, bringing beautiful canciones and corridos love songs, waltzes, and ballads along with them. Like American Indian communities, each rite of passage in Hispanic communities is accompanied by traditional music. The acoustic guitar, string bass, and violin provide the basic instrumentation for Mexican music, with maracas, flute, horns, or sometimes accordion filling out the sound. Other Europeans (such as Bohemians and Germans) settled in the late 19th century. Their social activities centered on community halls, "where local musicians played polkas and waltzes on the accordion, piano, and brass instruments". Later, Asians contributed to the musical mix. "Ancient music and dance traditions from the temples and courts of China, India, and Indonesia are preserved in Asian communities throughout the state, and popular song genres are continually layered on to these classical music forms"

Folk music revivals
"Folk music revival" refers to either a period of renewed interest in traditional folk music, or to an event or period which transforms it; the latter usually includes a social activism component. A prominent example of the former is the British folk revival of approximately 1890–1920. The most prominent and influential example of the latter (to the extent that it is usually called "the folk music revival") is the folk revival of the mid 20th century, centered in the English-speaking world which gave birth to contemporary folk music. See the "Contemporary folk music" article for a description of this revival.

One earlier revival influenced western classical music. Such composers as Percy Grainger, Ralph Vaughan Williams, and Béla Bartók made field recordings or transcriptions of folk singers and musicians.

In Spain, Isaac Albéniz (1860–1909) produced piano works reflect his Spanish heritage, including the Suite Iberia (1906–1909). Enrique Granados (1867–1918) composed zarzuela, Spanish light opera, and Danzas Españolas – Spanish Dances. Manuel de Falla (1876–1946) became interested in the cante jondo of Andalusian flamenco, the influence of which can be strongly felt in many of his works, which include Nights in the Gardens of Spain and Siete canciones populares españolas ("Seven Spanish Folksongs", for voice and piano). Composers such as Fernando Sor and Francisco Tarrega established the guitar as Spain's national instrument. Modern Spanish folk artists abound (Mil i Maria, Russian Red, et al.) modernizing while respecting the traditions of their forebears.

Flamenco grew in popularity through the 20th century, as did northern styles such as the Celtic music of Galicia. French classical composers, from Bizet to Ravel, also drew upon Spanish themes, and distinctive Spanish genres became universally recognized.

Folk music revivals or roots revivals also encompass a range of phenomena around the world where there is a renewed interest in traditional music. This is often by the young, often in the traditional music of their own country, and often included new incorporation of social awareness, causes, and evolutions of new music in the same style. Nueva canción, a similar evolution of a new form of socially committed music occurred in several Spanish-speaking countries.

United States
It is sometimes claimed that the earliest United States folk music festival was the Mountain Dance and Folk Festival, 1928, in Asheville, North Carolina, founded by Bascom Lamar Lunsford. The National Folk Festival (USA) is an itinerant folk festival in the United States. Since 1934, it has been run by the National Council for the Traditional Arts (NCTA) and has been presented in 26 communities around the nation. After leaving some of these communities, the National Folk Festival has spun off several locally run folk festivals in its wake including the Lowell Folk Festival, the Richmond Folk Festival, the American Folk Festival and, most recently, the Montana Folk Festival.

The Newport Folk Festival is an annual folk festival held near Newport, Rhode Island. It ran most years from 1959 to 1970 and from 1985 to the present, with an attendance of approximately 10,000 people each year.

The four-day Philadelphia Folk Festival began in 1962. It is sponsored by the non-profit Philadelphia Folksong Society. The event hosts contemporary and traditional artists in genres including World/Fusion, Celtic, Singer-Songwriter, Folk Rock, Country, Klezmer, and Dance. It is held annually on the third weekend in August. The event now hosts approximately 12,000 visitors, presenting bands on 6 stages.

The Feast of the Hunters' Moon in Indiana draws approximately 60,000 visitors per year.

United Kingdom
Sidmouth Festival began in 1954, and Cambridge Folk Festival began in 1965. The Cambridge Folk Festival in Cambridge, England is noted for having a very wide definition of who can be invited as folk musicians. The "club tents" allow attendees to discover large numbers of unknown artists, who, for ten or 15 minutes each, present their work to the festival audience.

Australia
The National Folk Festival is Australia's premier folk festival event and is attended by over 50,000 people. The Woodford Folk Festival and Port Fairy Folk Festival are similarly amongst Australia's largest major annual events, attracting top international folk performers as well as many local artists.

Canada
Stan Rogers is a lasting fixture of the Canadian folk festival Summerfolk, held annually in Owen Sound, Ontario, where the main stage and amphitheater are dedicated as the "Stan Rogers Memorial Canopy". The festival is firmly fixed in tradition, with Rogers' song "The Mary Ellen Carter" being sung by all involved, including the audience and a medley of acts at the festival. The Canmore Folk Music Festival is Alberta's longest running folk music festival.

Other
Urkult Näsåker, Ångermanland held August each year is purportedly Sweden's largest world-music festival.

title: Folk music


text:
Frank

Frank or Franks may refer to:

People

 * Frank (given name)
 * Frank (surname)
 * Franks (surname)
 * Franks, a Germanic people in late Roman times
 * Frank, a term in the Muslim world for all western Europeans, particularly during the Crusades - see Farang, Crusaders and other Western Europeans as "Franks"

Currency

 * Liechtenstein franc or frank, the currency of Liechtenstein since 1920
 * Swiss franc or frank, the currency of Switzerland since 1850
 * Westphalian frank, currency of the Kingdom of Westphalia between 1808 and 1813
 * The currencies of the German-speaking cantons of Switzerland (1803–1814):
 * Appenzell frank
 * Aargau frank
 * Basel frank
 * Berne frank
 * Fribourg frank
 * Glarus frank
 * Graubünden frank
 * Luzern frank
 * Schaffhausen frank
 * Schwyz frank
 * Solothurn frank
 * St. Gallen frank
 * Thurgau frank
 * Unterwalden frank
 * Uri frank
 * Zürich frank

Places

 * Frank, Alberta, Canada, an urban community, formerly a village
 * Franks, Illinois, United States, an unincorporated community
 * Franks, Missouri, United States, an unincorporated community
 * Frank, North Carolina, United States, an unincorporated community
 * Frank, West Virginia, United States, a census-designated place

Fictional characters

 * One of the title characters of Frank and Ernest (comic strip)
 * Frank, from the 1993 American comedy-drama film Mrs. Doubtfire
 * Frank, a character in the 2001 American made-for-television drama movie A Girl Thing
 * Frank, a monstrous rabbit character in Donnie Darko
 * Frank, Kevin's uncle in the Home Alone movies
 * Frank Angelino, on the American television sitcom Three's Company
 * Frank Armitage, in the 1988 American science-fiction action thriller movie They Live
 * Frank Barone, from the American sitcom Everybody Loves Raymond
 * Frank Bean, a main antagonist of Fantastic Mr. Fox
 * Frank Bennett, in the 1991 American comedy-drama movie Fried Green Tomatoes
 * Frank Burns (M*A*S*H), in the film and TV series M*A*S*H
 * Frank Castle, a Marvel Comics vigilante also called the Punisher
 * Frank Costanza, from the American sitcom Seinfeld
 * Frank Craft, in the 1996 American action thriller disaster movie Daylight
 * Frank Dawson, in the 1959–1960 syndicated TV series This Man Dawson
 * Frank Dawson, a character in the 1981 American made-for-television movie Fallen Angel
 * Frank Dawson, in the 2013 American black comedy crime film Life of Crime
 * Frank Drebin, main character of the action comedy film series The Naked Gun
 * Frank/Franky, Chad's uncle in Double Impact
 * Frank, Hank’s twin brother and one of the two beavers in the Jim Henson show Pajanimals
 * Frank Huddy, a character in the 1992 American sports comedy-drama movie The Mighty Ducks
 * Frank Gallagher (Shameless), from the series Shameless
 * Frank Grimes (The Simpsons), in the animated sitcom The Simpsons
 * Frank Heffley, in the book series Diary of a Wimpy Kid
 * Frank Honey, a character in the video game Lego City Undercover
 * Frank Horrigan, the main antagonist of the video game Fallout 2
 * Frank Lambert, a character in the TV sitcom Step by Step
 * Frank Mercer, the main antagonist from Need for Speed Heat
 * Frank Milo, in the 1993 American crime comedy-drama movie Mad Dog and Glory, played by Bill Murray
 * Frank Mitchell, father of the title character in Moesha
 * Frank Murphy, in the 1983 film Blue Thunder
 * Frank N. Furter, the main antagonist in the 1975 film The Rocky Horror Picture Show
 * Frank the Pug, from the Men in Black franchise
 * Frank Reynolds (It's Always Sunny in Philadelphia), from the FX TV series It's Always Sunny in Philadelphia, portrayed by Danny DeVito
 * Frank Rock, DC comics character also known as Sgt. Rock
 * Frank Rossitano, a character from the NBC satire sitcom 30 Rock
 * Frank Rowan, in the 1951 novel Camilla Dickinson
 * Frank Ryan, a character in the 1934 film The Man Who Changed His Name
 * Frank Spencer (Michael Crawford), the main character of the BBC sitcom Some Mothers Do Ave Em
 * Frank, a taxi driver from 28 Days Later
 * Frank West (Dead Rising), in the Dead Rising video game series
 * Frank White, lead character in the 1990 film King of New York
 * Frank Woods, in the video game Call of Duty: Black Ops
 * Frank Zhang, one of the seven from Rick Riordan's Heroes of Olympus
 * TV's Frank, from the TV series Mystery Science Theater 3000, named for Frank Lanham

Music

 * Frank (Amy Winehouse album), 2003
 * Frank (Yerin Baek EP), 2015
 * Frank (Squeeze album), 1989
 * Frank (Fly Anakin album), 2022
 * Frank (band), a four-piece girl band created for a Channel 4 comedy drama series
 * Frank, a song by Ween from their 1991 album The Pod

Other arts and entertainment

 * Frank (film), a 2014 comedy
 * Frank (social network), an American social networking service
 * Frank (comics), a series of experimental comic books by Jim Woodring

Other uses

 * FRANK (drugs), a UK government drugs awareness campaign
 * Frank, a device or marking on mail - see Franking
 * Nakajima Ki-84, Allied reporting name: Frank, a Japanese World War II fighter aircraft
 * USS Franks (DD-554), a United States Navy warship
 * Tropical Storm Frank, a name borne by several tropical cyclones worldwide
 * Storm Frank, a windstorm in Britain and Ireland in December 2015
 * Frank (food), an alternate name for a hot dog or sausage
 * Frank's Red Hot, a cayenne pepper hot sauce
 * Frank's Nursery & Crafts, a defunct U.S. retailer
 * Frank (magazine), a Canadian scandal sheet
 * Frank: Academics for the Real World, a review published by the Clinton School of Public Service
 * Frank (company), a student financial aid assistance company founded by Charlie Javice

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Frank


text:
Fullerene

A fullerene is an allotrope of carbon whose molecules consist of carbon atoms connected by single and double bonds so as to form a closed or partially closed mesh, with fused rings of five to seven atoms. The molecules may have hollow sphere- and ellipsoid-like forms, tubes, or other shapes.

Fullerenes with a closed mesh topology are informally denoted by their empirical formula Cn, often written Cn, where n is the number of carbon atoms. However, for some values of n there may be more than one isomer.

The family is named after buckminsterfullerene (C60), the most famous member, which in turn is named after Buckminster Fuller. The closed fullerenes, especially C60, are also informally called buckyballs for their resemblance to the standard ball of association football ("soccer"). Nested closed fullerenes have been named bucky onions. Cylindrical fullerenes are also called carbon nanotubes or buckytubes. The bulk solid form of pure or mixed fullerenes is called fullerite.

Fullerenes had been predicted for some time, but only after their accidental synthesis in 1985 were they detected in nature and outer space. The discovery of fullerenes greatly expanded the number of known allotropes of carbon, which had previously been limited to graphite, diamond, and amorphous carbon such as soot and charcoal. They have been the subject of intense research, both for their chemistry and for their technological applications, especially in materials science, electronics, and nanotechnology.

Definition
IUPAC defines fullerenes as "polyhedral closed cages made up entirely of n three-coordinate carbon atoms and having 12 pentagonal and (n/2-10) hexagonal faces, where n ≥ 20."

Predictions and limited observations
The icosahedral cage was mentioned in 1965 as a possible topological structure. Eiji Osawa predicted the existence of in 1970. He noticed that the structure of a corannulene molecule was a subset of the shape of a football, and hypothesised that a full ball shape could also exist. Japanese scientific journals reported his idea, but neither it nor any translations of it reached Europe or the Americas.

Also in 1970, R.W.Henson (then of the UK Atomic Energy Research Establishment) proposed the structure and made a model of it. Unfortunately, the evidence for that new form of carbon was very weak at the time, so the proposal was met with skepticism, and was never published. It was acknowledged only in 1999.

In 1973, independently from Henson, D. A. Bochvar and E. G. Galpern made a quantum-chemical analysis of the stability of and calculated its electronic structure. The paper was published in 1973, but the scientific community did not give much importance to this theoretical prediction.

Around 1980, Sumio Iijima identified the molecule of from an electron microscope image of carbon black, where it formed the core of a particle with the structure of a "bucky onion".

Also in the 1980s at MIT, Mildred Dresselhaus and Morinobu Endo, collaborating with T. Venkatesan, directed studies blasting graphite with lasers, producing carbon clusters of atoms, which would be later identified as "fullerenes."

Discovery of
In 1985, Harold Kroto of the University of Sussex, working with James R. Heath, Sean O'Brien, Robert Curl and Richard Smalley from Rice University, discovered fullerenes in the sooty residue created by vaporising carbon in a helium atmosphere. In the mass spectrum of the product, discrete peaks appeared corresponding to molecules with the exact mass of sixty or seventy or more carbon atoms, namely and. The team identified their structure as the now familiar "buckyballs".

The name "buckminsterfullerene" was eventually chosen for by the discoverers as an homage to American architect Buckminster Fuller for the vague similarity of the structure to the geodesic domes which he popularized; which, if they were extended to a full sphere, would also have the icosahedral symmetry group. The "ene" ending was chosen to indicate that the carbons are unsaturated, being connected to only three other atoms instead of the normal four. The shortened name "fullerene" eventually came to be applied to the whole family.

Kroto, Curl, and Smalley were awarded the 1996 Nobel Prize in Chemistry for their roles in the discovery of this class of molecules.

Further developments
Kroto and the Rice team already discovered other fullerenes besides C60, and the list was much expanded in the following years. Carbon nanotubes were first discovered and synthesized in 1991.

After their discovery, minute quantities of fullerenes were found to be produced in sooty flames, and by lightning discharges in the atmosphere. In 1992, fullerenes were found in a family of mineraloids known as shungites in Karelia, Russia.

The production techniques were improved by many scientists, including Donald Huffman, Wolfgang Krätschmer, Lowell D. Lamb, and Konstantinos Fostiropoulos. Thanks to their efforts, by 1990 it was relatively easy to produce gram-sized samples of fullerene powder. Fullerene purification remains a challenge to chemists and to a large extent determines fullerene prices.

In 2010, the spectral signatures of C60 and C70 were observed by NASA's Spitzer infrared telescope in a cloud of cosmic dust surrounding a star 6500 light years away. Kroto commented: "This most exciting breakthrough provides convincing evidence that the buckyball has, as I long suspected, existed since time immemorial in the dark recesses of our galaxy." According to astronomer Letizia Stanghellini, "It’s possible that buckyballs from outer space provided seeds for life on Earth." In 2019, ionized C60 molecules were detected with the Hubble Space Telescope in the space between those stars.

Types
There are two major families of fullerenes, with fairly distinct properties and applications: the closed buckyballs and the open-ended cylindrical carbon nanotubes. However, hybrid structures exist between those two classes, such as carbon nanobuds — nanotubes capped by hemispherical meshes or larger "buckybuds".

Buckminsterfullerene
Buckminsterfullerene is the smallest fullerene molecule containing pentagonal and hexagonal rings in which no two pentagons share an edge (which can be destabilizing, as in pentalene). It is also most common in terms of natural occurrence, as it can often be found in soot.

The empirical formula of buckminsterfullerene is and its structure is a truncated icosahedron, which resembles an association football ball of the type made of twenty hexagons and twelve pentagons, with a carbon atom at the vertices of each polygon and a bond along each polygon edge.

The van der Waals diameter of a buckminsterfullerene molecule is about 1.1 nanometers (nm). The nucleus to nucleus diameter of a buckminsterfullerene molecule is about 0.71 nm.

The buckminsterfullerene molecule has two bond lengths. The 6:6 ring bonds (between two hexagons) can be considered "double bonds" and are shorter (1.401 Å) than the 6:5 bonds (1.458 Å, between a hexagon and a pentagon). The weighted average bond length is 1.44 Å.

Other fullerenes
Another fairly common fullerene has empirical formula, but fullerenes with 72, 76, 84 and even up to 100 carbon atoms are commonly obtained.

The smallest possible fullerene is the dodecahedral. There are no fullerenes with 22 vertices. The number of different fullerenes C2n grows with increasing n = 12, 13, 14, ..., roughly in proportion to n9. For instance, there are 1812 non-isomorphic fullerenes. Note that only one form of, buckminsterfullerene, has no pair of adjacent pentagons (the smallest such fullerene). To further illustrate the growth, there are 214,127,713 non-isomorphic fullerenes, 15,655,672 of which have no adjacent pentagons. Optimized structures of many fullerene isomers are published and listed on the web.

Heterofullerenes have heteroatoms substituting carbons in cage or tube-shaped structures. They were discovered in 1993 and greatly expand the overall fullerene class of compounds and can have dangling bonds on their surfaces. Notable examples include boron, nitrogen (azafullerene), oxygen, and phosphorus derivatives.

Carbon nanotubes
Carbon nanotubes are cylindrical fullerenes. These tubes of carbon are usually only a few nanometres wide, but they can range from less than a micrometer to several millimeters in length. They often have closed ends, but can be open-ended as well. There are also cases in which the tube reduces in diameter before closing off. Their unique molecular structure results in extraordinary macroscopic properties, including high tensile strength, high electrical conductivity, high ductility, high heat conductivity, and relative chemical inactivity (as it is cylindrical and "planar" — that is, it has no "exposed" atoms that can be easily displaced). One proposed use of carbon nanotubes is in paper batteries, developed in 2007 by researchers at Rensselaer Polytechnic Institute. Another highly speculative proposed use in the field of space technologies is to produce high-tensile carbon cables required by a space elevator.

Derivatives
Buckyballs and carbon nanotubes have been used as building blocks for a great variety of derivatives and larger structures, such as
 * Nested buckyballs ("carbon nano-onions" or "buckyonions") proposed for lubricants;
 * Nested carbon nanotubes ("carbon megatubes")
 * Linked "ball-and-chain" dimers (two buckyballs linked by a carbon chain)
 * Rings of buckyballs linked together.

Heterofullerenes and non-carbon fullerenes
After the discovery of C60, many fullerenes have been synthesized (or studied theoretically by molecular modeling methods) in which some or all the carbon atoms are replaced by other elements. Non-carbon nanotubes, in particular, have attracted much attention.

Boron
A type of buckyball which uses boron atoms, instead of the usual carbon, was predicted and described in 2007. The structure, with each atom forming 5 or 6 bonds, was predicted to be more stable than the  buckyball. However, subsequent analysis found that the predicted Ih symmetric structure was vibrationally unstable and the resulting cage would undergo a spontaneous symmetry break, yielding a puckered cage with rare Th symmetry (symmetry of a volleyball). The number of six-member rings in this molecule is 20 and number of five-member rings is 12. There is an additional atom in the center of each six-member ring, bonded to each atom surrounding it. By employing a systematic global search algorithm, it was later found that the previously proposed fullerene is not a global maximum for 80-atom boron clusters and hence can not be found in nature; the most stable configurations have complex. The same paper concluded that boron's energy landscape, unlike others, has many disordered low-energy structures, hence pure boron fullerenes are unlikely to exist in nature.

However, an irregular complex dubbed borospherene was prepared in 2014. This complex has two hexagonal faces and four heptagonal faces with in D2d symmetry interleaved with a network of 48 triangles.

Other elements
Inorganic (carbon-free) fullerene-type structures have been built with the molybdenum(IV) sulfide (MoS2), long used as a graphite-like lubricant, tungsten (WS2), titanium (TiS2) and niobium (NbS2). These materials were found to be stable up to at least 350 tons/cm2 (34.3 GPa).

Icosahedral or distorted-icosahedral fullerene-like complexes have also been prepared for germanium, tin, and lead; some of these complexes are spacious enough to hold most transition metal atoms.

Main fullerenes
Below is a table of main closed carbon fullerenes synthesized and characterized so far, with their CAS number when known. Fullerenes with fewer than 60 carbon atoms have been called "lower fullerenes", and those with more than 70 atoms "higher fullerenes".

In the table, "Num.Isom." is the number of possible isomers within the "isolated pentagon rule", which states that two pentagons in a fullerene should not share edges. "Mol.Symm." is the symmetry of the molecule, whereas "Cryst.Symm." is that of the crystalline framework in the solid state. Both are specified for the most experimentally abundant form(s). The asterisk * marks symmetries with more than one chiral form.

When or  crystals are grown from toluene solution they have a monoclinic symmetry. The crystal structure contains toluene molecules packed between the spheres of the fullerene. However, evaporation of the solvent from transforms it into a face-centered cubic form. Both monoclinic and face-centered cubic (fcc) phases are known for better-characterized buckminsterfullerene and C70 fullerene fullerenes.

Topology
Schlegel diagrams are often used to clarify the 3D structure of closed-shell fullerenes, as 2D projections are often not ideal in this sense.

In mathematical terms, the combinatorial topology (that is, the carbon atoms and the bonds between them, ignoring their positions and distances) of a closed-shell fullerene with a simple sphere-like mean surface (orientable, genus zero) can be represented as a convex polyhedron; more precisely, its one-dimensional skeleton, consisting of its vertices and edges. The Schlegel diagram is a projection of that skeleton onto one of the faces of the polyhedron, through a point just outside that face; so that all other vertices project inside that face.

The Schlegel diagram of a closed fullerene is a graph that is planar and 3-regular (or "cubic"; meaning that all vertices have degree 3).

A closed fullerene with sphere-like shell must have at least some cycles that are pentagons or heptagons. More precisely, if all the faces have 5 or 6 sides, it follows from Euler's polyhedron formula, V−E+F=2 (where V, E, F are the numbers of vertices, edges, and faces), that V must be even, and that there must be exactly 12 pentagons and V/2−10 hexagons. Similar constraints exist if the fullerene has heptagonal (seven-atom) cycles.

Bonding
Since each carbon atom is connected to only three neighbors, instead of the usual four, it is customary to describe those bonds as being a mixture of single and double covalent bonds. The hybridization of carbon in C60 has been reported to be sp2.01. The bonding state can be analyzed by Raman spectroscopy, IR spectroscopy and X-ray photoelectron spectroscopy.

Encapsulation
Additional atoms, ions, clusters, or small molecules can be trapped inside fullerenes to form inclusion compounds known as endohedral fullerenes. An unusual example is the egg-shaped fullerene Tb3N@, which violates the isolated pentagon rule. Evidence for a meteor impact at the end of the Permian period was found by analyzing noble gases preserved by being trapped in fullerenes.

Research
In the field of nanotechnology, heat resistance and superconductivity are some of the more heavily studied properties.

There are many calculations that have been done using ab-initio quantum methods applied to fullerenes. By DFT and TD-DFT methods one can obtain IR, Raman and UV spectra. Results of such calculations can be compared with experimental results.

Fullerene is an unusual reactant in many organic reactions such as the Bingel reaction discovered in 1993.

Aromaticity
Researchers have been able to increase the reactivity of fullerenes by attaching active groups to their surfaces. Buckminsterfullerene does not exhibit "superaromaticity": that is, the electrons in the hexagonal rings do not delocalize over the whole molecule.

A spherical fullerene of n carbon atoms has n pi-bonding electrons, free to delocalize. These should try to delocalize over the whole molecule. The quantum mechanics of such an arrangement should be like only one shell of the well-known quantum mechanical structure of a single atom, with a stable filled shell for n = 2, 8, 18, 32, 50, 72, 98, 128, etc. (i.e., twice a perfect square number), but this series does not include 60. This 2(N + 1)2 rule (with N integer) for spherical aromaticity is the three-dimensional analogue of Hückel's rule. The 10+ cation would satisfy this rule, and should be aromatic. This has been shown to be the case using quantum chemical modelling, which showed the existence of strong diamagnetic sphere currents in the cation.

As a result, in water tends to pick up two more electrons and become an anion. The n described below may be the result of trying to form a loose metallic bond.

Polymerization
Under high pressure and temperature, buckyballs collapse to form various one-, two-, or three-dimensional carbon frameworks. Single-strand polymers are formed using the Atom Transfer Radical Addition Polymerization (ATRAP) route.

"Ultrahard fullerite" is a coined term frequently used to describe material produced by high-pressure high-temperature (HPHT) processing of fullerite. Such treatment converts fullerite into a nanocrystalline form of diamond which has been reported to exhibit remarkable mechanical properties.

Chemistry
Fullerenes are stable, but not totally unreactive. The sp2-hybridized carbon atoms, which are at their energy minimum in planar graphite, must be bent to form the closed sphere or tube, which produces angle strain. The characteristic reaction of fullerenes is electrophilic addition at 6,6-double bonds, which reduces angle strain by changing sp2-hybridized carbons into sp3-hybridized ones. The change in hybridized orbitals causes the bond angles to decrease from about 120° in the sp2 orbitals to about 109.5° in the sp3 orbitals. This decrease in bond angles allows for the bonds to bend less when closing the sphere or tube, and thus, the molecule becomes more stable.

Solubility

Fullerenes are soluble in many organic solvents, such as toluene, chlorobenzene, and 1,2,3-trichloropropane. Solubilities are generally rather low, such as 8 g/L for C60 in carbon disulfide. Still, fullerenes are the only known allotrope of carbon that can be dissolved in common solvents at room temperature. Among the best solvents is 1-chloronaphthalene, which will dissolve 51 g/L of C60.

Solutions of pure buckminsterfullerene have a deep purple color. Solutions of are a reddish brown. The higher fullerenes to  have a variety of colors.

Millimeter-sized crystals of and, both pure and solvated, can be grown from benzene solution. Crystallization of from benzene solution below 30 °C (when solubility is maximum) yields a triclinic solid solvate ·4. Above 30 °C one obtains solvate-free fcc.

Quantum mechanics
In 1999, researchers from the University of Vienna demonstrated that wave-particle duality applied to molecules such as fullerene.

Superconductivity
Fullerenes are normally electrical insulators, but when crystallized with alkali metals, the resultant compound can be conducting or even superconducting.

Chirality
Some fullerenes (e.g., , , and ) are inherently chiral because they are D2-symmetric, and have been successfully resolved. Research efforts are ongoing to develop specific sensors for their enantiomers.

Stability
Two theories have been proposed to describe the molecular mechanisms that make fullerenes. The older, “bottom-up” theory proposes that they are built atom-by-atom. The alternative “top-down” approach claims that fullerenes form when much larger structures break into constituent parts.

In 2013 researchers discovered that asymmetrical fullerenes formed from larger structures settle into stable fullerenes. The synthesized substance was a particular metallofullerene consisting of 84 carbon atoms with two additional carbon atoms and two yttrium atoms inside the cage. The process produced approximately 100 micrograms.

However, they found that the asymmetrical molecule could theoretically collapse to form nearly every known fullerene and metallofullerene. Minor perturbations involving the breaking of a few molecular bonds cause the cage to become highly symmetrical and stable. This insight supports the theory that fullerenes can be formed from graphene when the appropriate molecular bonds are severed.

Systematic naming
According to the IUPAC, to name a fullerene, one must cite the number of member atoms for the rings which comprise the fullerene, its symmetry point group in the Schoenflies notation, and the total number of atoms. For example, buckminsterfullerene C60 is systematically named (-Ih)[5,6]fullerene. The name of the point group should be retained in any derivative of said fullerene, even if that symmetry is lost by the derivation.

To indicate the position of substituted or attached elements, the fullerene atoms are usually numbered in a spiral path, usually starting with the ring on one of the main axes. If the structure of the fullerene does not allow such numbering, another starting atom was chosen to still achieve a spiral path sequence.

The latter is the case for C70, which is (-D5h(6))[5,6]fullerene in IUPAC notation. The symmetry D5h(6) means that this is the isomer where the C5 axis goes through a pentagon surrounded by hexagons rather than pentagons.

In IUPAC's nomenclature, fully saturated analogues of fullerenes are called fulleranes. If the mesh has other element(s) substituted for one or more carbons, the compound is named a heterofullerene. If a double bond is replaced by a methylene bridge \sCH2\s, the resulting structure is a homofullerene. If an atom is fully deleted and missing valences saturated with hydrogen atoms, it is a norfullerene. When bonds are removed (both sigma and pi), the compound becomes secofullerene; if some new bonds are added in an unconventional order, it is a cyclofullerene.

Production
Fullerene production generally starts by producing fullerene-rich soot. The original (and still current) method was to send a large electric current between two nearby graphite electrodes in an inert atmosphere. The resulting electric arc vaporizes the carbon into a plasma that then cools into sooty residue. Alternatively, soot is produced by laser ablation of graphite or pyrolysis of aromatic hydrocarbons. Combustion of benzene is the most efficient process, developed at MIT.

These processes yield a mixture of various fullerenes and other forms of carbon. The fullerenes are then extracted from the soot using appropriate organic solvents and separated by chromatography. One can obtain milligram quantities of fullerenes with 80 atoms or more. C76, C78 and C84 are available commercially.

Biomedical
Functionalized fullerenes have been researched extensively for several potential biomedical applications including high-performance MRI contrast agents, X-ray imaging contrast agents, photodynamic therapy for tumor treatment, and drug and gene delivery.

Safety and toxicity
In 2013, a comprehensive review on the toxicity of fullerene was published reviewing work beginning in the early 1990s to present and concluded that very little evidence gathered since the discovery of fullerenes indicate that is toxic. The toxicity of these carbon nanoparticles is not only dose- and time-dependent, but also depends on a number of other factors such as:

 * type (e.g.:, , M@, M@)
 * functional groups used to water-solubilize these nanoparticles (e.g.: OH, COOH)
 * method of administration (e.g.: intravenous, intraperitoneal)

It was recommended to assess the pharmacology of every new fullerene- or metallofullerene-based complex individually as a different compound.

Popular culture
Examples of fullerenes appear frequently in popular culture. Fullerenes appeared in fiction well before scientists took serious interest in them. In a humorously speculative 1966 column for New Scientist, David Jones suggested the possibility of making giant hollow carbon molecules by distorting a plane hexagonal net with the addition of impurity atoms.

title: Fullerene


text:
Francis II

Francis II may refer to:

 * Francis II, Duke of Brittany (1433–1488)
 * Francesco II Gonzaga, Marquess of Mantua (1466–1519), ruler of the Italian city of Mantua
 * Francis II of France (1544–1560), king of France
 * Francis II, Duke of Lorraine (1572–1632), son of Charles III, Duke of Lorraine, and Claude of Valois
 * Francesco II d'Este, Duke of Modena (1660–1694)
 * Francis II Rákóczi (1676–1735), Prince of Transylvania
 * Francis II, Holy Roman Emperor (1768–1835), last Holy Roman Emperor
 * Francis II of the Two Sicilies (1836–1894), last king of the Two Sicilies
 * Franz, Duke of Bavaria (born 1933), called "Francis II" by supporters of the Jacobite claim to the thrones of England, Scotland, Ireland, and France
 * Francis II, Duke of Saxe-Lauenburg (1547–1619), third son of Francis I of Saxe-Lauenburg and Sybille of Saxe-Freiberg

title: Francis II


text:
Fallacies of definition

Fallacies of definition are the various ways in which definitions can fail to explain terms. The phrase is used to suggest an analogy with an informal fallacy. Definitions may fail to have merit, because they are overly broad,  overly narrow, or incomprehensible; or they use obscure or ambiguous language, contain mutually exclusive parts, or (perhaps most commonly ) are circular.

Circularity

If one concept is defined by another, and the other is defined by the first, this is known as a circular definition, akin to circular reasoning: neither offers enlightenment about what one wanted to know. "It is a fallacy because by using a synonym in the definiens the reader is told nothing significantly new."

A straightforward example would be to define Jew as "a person believing in Judaism", and Judaism as "the religion of the Jewish people", which would make Judaism "the religion of the people believing in Judaism".

Incongruity: overly broad or narrow
A definition intended to describe a given set of individuals fails if its description of matching individuals is incongruous: too broad (excessively loose with parameters) or too narrow (excessively strict with parameters). For example, "a shape with four sides of equal length" is not a sufficient definition for square, because squares are not the only shapes that can have four sides of equal length; rhombi do as well. Likewise, defining rectangle as "a shape with four perpendicular sides of equal length" is inappropriate because it is too narrow, as it describes only squares while excluding all other kinds of rectangles, thus being a plainly incorrect definition.

If a cow were defined as an animal with horns, this would be overly broad (including goats, for example), while if a cow were defined as a black-and-white quadruped, this would be both overly narrow (excluding: all-black, all-white, all-brown and white-brown cows, for example) and overly broad (including Dalmatians, for example).

Obscurity
Definitions can go wrong by using ambiguous, obscure, or figurative language. This can lead to circular definitions. Definitions should be defined in the most prosaic form of language to be understood, as failure to elucidate provides fallacious definitions. Figurative language can also be misinterpreted. For example, golden eyes in a biography may lead the reader to think that the person was fictional.

An example of obscurity is Samuel Johnson's definition for oats: "A grain, which in England is generally given to horses, but in Scotland supports the people." The thing defined (oats) should be pointed out rather than remain obscure.

Mutual exclusivity
The definition completely excludes what is being defined. For example, a cow might be defined as a flying animal with no legs. In reality a cow has legs and cannot fly, but this example claims to define a cow using a definition that is opposite to what a cow actually is. "Cow" and "flying animal with no legs" are mutually exclusive to each other: they cannot refer to the same thing.

Self-contradictory requirements
Definitions may fail by imposing conflicting requirements, making it impossible for them to apply to anything at all. For example, a cow being defined as a legless quadruped. These requirements may also be mutually exclusive.

Definist fallacy
The definist fallacy is a logical fallacy, coined by William Frankena in 1939, that involves the definition of one property in terms of another.

title: Fallacies of definition