Музыка иммигрантов в США: корни и традиции.

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The vast majority of the inhabitants of the United States are immigrants or descendants of immigrants. This article will focus on the music of these communities and discuss its roots in countries across Africa, Europe and Asia, excluding only Native American music, indigenous and immigrant Latinos, Puerto Rican music, Hawaiian music and African American music. The music of Irish and Scottish Americans will be a special focus, due to their extreme influence on Appalachian folk music and other genres. These sorts of music are often sustained and promoted by a variety of ethnic organizations.

As the homeland of many of the settlers of the original Thirteen Colonies, and a major source of immigration thereafter, England's musical traditions are closely tied to those of the United States, especially Appalachian folk music. In the 1850s, there was a thriving brass band tradition in the United States, drawing on British bands formed around factory workers.

The Indian diaspora (and significant portion of other South Asian diaspora) enjoy Indian music, which includes Indian classical music and non classical Indian music. The non classical music has at least two categories: film music (original sound tracks) and non film music (often called Indi pop). The Bollywood music represents Hindi language film songs. Indian diaspora speaking non Hindi languages enjoy music of their own languages, such as Tamil music, Bengali music, Punjabi music and so on. Fusion between popular Indian music (such as Bollywood or Bhangra music) and American music has taken place, and is popular in certain areas with high Indian American population density.

Joseph Halliday, a Dubliner, is notable for having introduced the keyed bugle in 1810. While not a technical innovation (the keyed trumpet was already known), it did become extremely popular in the burgeoning brass band tradition and inspired a whole family of instruments, the ophicleides. In the middle of the 19th century, Irish bandleader Patrick Sarsfield Gilmore was very influential, having introduced a wide range of reed instruments as well as developing instrumentation that allowed a large wind ensemble to approximate the effects of a full orchestra. The 1960s saw the Clancy Brothers (with Tommy Makem) become minor celebrities in the United States, especially in the Irish American community. They appeared at Carnegie Hall and on The Ed Sullivan Show. Mick Moloney’s Irish American Music and Dance Festival has existed for over twenty years and remains an important part of the Irish American scene. In the eighties several high profile Irish artists emigrated to the US, including Mary Black, Dolores Keane and Maura O'Connell. At the same time groups sprang up in America to play Irish music at a professional level. Mick Moloney founded Green Fields of America in 1977 to bring together immigrant Irish and native born players of Irish music. Although they did not record an album until 1989, they created a ripple. The band contained several people who went on achieve international fame – Seamus Egan, Eileen Ivers and Jerry O'Sullivan. Another early Irish American band was Cherish the Ladies formed in 1985. The rules of the All Ireland championships allow non Irish residents to complete and thanks to Irish cultural centres in New York and Chicago, young US citizens began to win in dancing and fiddling. Chicago born Liz Carroll came second in 1974 with her fiddling. In 1992 she was a member of Trian, who recorded two highly regarded albums of strictly traditional no frills Irish instrumentals. Some films gave exposure to Irish music – "Barry Lyndon" (1975 – The Chieftains), "The Brothers McMullen" (1984 – Seamus Egan), "Dancing at Lughnasa" (1998 – Arty McGlynn) and "Titanic" (1997). The touring stage show "Riverdance" (1995) was probably the biggest single publicity blaze in the cause of Irish American music. The New York "Kips Bay Ceilidh Band" recorded an admired album of dance tunes (1993). Celtic new age music from Clannad (Ireland), harpist Loreena McKennitt (Canada) and Nightnoise (Ireland) were popular in a low key way in the US. Tríona and Mícheál O Dhomhnaill from Nightnoise had emigrated to the US in the 70s and started recording in 1984. There were pop hits for Enya (originally from Clannad). Among the immigrants from Ireland was Susan McKeown. She had been recording since 1990 but won international praise for "Lowlands" (2000). In 1996 the Irish American supergroup Solas was formed. The group contained multi instrumentalist Seamus Egan and a powerful new singer Karan Casey. The Chieftains had been visiting America since the 70s but by 2003 the audience was big enough to justify a DVD, live from Nashville.

Large scale Japanese immigration to the United States began early in the 20th century, and traditional music came with them. California and Hawaii were two of the biggest destinations for these immigrants. The first North American taiko group was Seiichi Tanaka's San Francisco Taiko Dojo in San Francisco, which was founded in 1968.

Norwegian American folk music in the United States is mostly found in Minnesota and surrounding states. Reinlenders, polkas and waltzes are played; of these, waltzes are by far the most common Instruments include the psalmodikon, fiddle and accordion. Celebrations like Syttende Mai have become an important outlet for traditional Norwegian music.

Pakistani music in the United States is largely influenced by homegrown Pakistani American musicians and bands. The Kominas are an American Pakistani taqwacore band from Boston. There have been a number of successful American musicians of Pakistani origin; they include Nadia Ali, rappers Bohemia and Mr. Capone E, Junoon member Salman Ahmad, the Qaiyum brothers (MCs GQ and JAQ), as well as Explosions in the Sky guitarist Munaf Rayani. Much of the works contributed by Pakistani musicians in the U. S. are often inspired by a fusion of contemporary and traditional American and Pakistani musical genres.