Academic literature on the topic 'Folk songs, Balkan'
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Journal articles on the topic "Folk songs, Balkan"
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Dumnić Vilotijević, Marija. "The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music." Arts 9, no. 2 (2020): 70. http://dx.doi.org/10.3390/arts9020070.
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In this article, I discuss the use of the term “Balkan” in the regional popular music. In this context, Balkan popular music is contemporary popular folk music produced in the countries of the Balkans and intended for the Balkan markets (specifically, the people in the Western Balkans and diaspora communities). After the global success of “Balkan music” in the world music scene, this term influenced the cultures in the Balkans itself; however, interestingly, in the Balkans themselves “Balkan music” does not only refer to the musical characteristics of this genre—namely, it can also be applied music that derives from the genre of the “newly-composed folk music”, which is well known in the Western Balkans. The most important legacy of “Balkan” world music is the discourse on Balkan stereotypes, hence this article will reveal new aspects of autobalkanism in music. This research starts from several questions: where is “the Balkans” which is mentioned in these songs actually situated; what is the meaning of the term “Balkan” used for the audience from the Balkans; and, what are musical characteristics of the genre called trepfolk? Special focus will be on the post-Yugoslav market in the twenty-first century, with particular examples in Serbian language (as well as Bosnian and Croatian).
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Goldberg, Daniel. "Timing Variations in Two Balkan Percussion Performances." Empirical Musicology Review 10, no. 4 (2016): 305. http://dx.doi.org/10.18061/emr.v10i4.4884.
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<p>Many songs and dance pieces from the Balkan Peninsula employ <em>aksak </em>meter, in which two categorically different durations, long and short, coexist in the sequence of beats that performers emphasize and listeners move to. This paper analyzes the durations of <em>aksak </em>beats and measures in two recorded percussion performances that use a particular <em>aksak </em>beat sequence, long-short-short. The results suggest that the timing of beats varies in conjunction with factors including melodic grouping and interaction among members of a performing ensemble and audience. Timing variation linked to melodic groups occurs on a solo recording of a Macedonian Romani folk song. The performer, Muzafer Bizlim, taps an ostinato while singing, and the timing of his taps seems to mark some local and large-scale group boundaries. Melodic organization also seems relevant to the timing of beats and measures on a recording of Bulgarian percussionist Mitko Popov playing the <em>tŭpan</em>, a double-headed bass drum, in a small folk music ensemble. In Popov’s performance, however, timing differences might be related to characteristics of the ensemble dynamic, such as the coordination of multiple musical participants. These interpretations generate possibilities for future study of timing variations in relation to rhythm and meter.</p><p> </p><p>Supplemental files for this article can be downloaded <a href="https://library.osu.edu/documents/ojs/">here.</a> </p>
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Jurić, Dorian. "Heralds at the Bells: Messages of Hope from West Balkan Bards During the Coronavirus Pandemic." FOLKLORICA - Journal of the Slavic, East European, and Eurasian Folklore Association 24 (July 16, 2021): 85–117. http://dx.doi.org/10.17161/folklorica.v24i.15691.
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Between March and May of 2020, a number of guslars (bards) and other traditional singers from Bosnia-Herzegovina, Croatia, Montenegro, and Serbia flooded YouTube with songs about the COVID-19 pandemic. Though the musicians chose divergent vantage points from which to approach the topic of the pandemic, all settled on a similar goal. They sought to deliver a message of solidarity and hope to those struggling with the realities of life under lockdown measures and to allay the fears and uncertainties that spread with the virus. This article provides a critical overview of the guslars’ songs to explore their shared and divergent tropes, themes, and tones, and to highlight the goals of their singers in disseminating their messages in traditional form. Here I comment on what the high degree of convergence in the songs’ final messages reveals about vernacular responses to the pandemic and folk views on the measures taken to halt the virus’s spread. Finally, the article places these songs into a wider historical context of contemporary singing to the gusle, remarking on the vagaries of navigating authority when one sings subjective opinion in the name of a collective.
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Vitanova-Ringaceva, Ana. "THE BALKAN WARS AND THE FIRST WORLD WAR AS MOTIFS IN THE FOLK SONGS FROM STRUMICA AND STRUMICA REGION." PALIMPSEST/ ПАЛИМПСЕСТ 6, no. 11 (2021): 171–82. http://dx.doi.org/10.46763/palim21116171vr.
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Petrovic, Sonja. "Milovan Vojicic's epic songs about the Kosovo battle 1389 in the Milman Parry collection of oral literature." Prilozi za knjizevnost, jezik, istoriju i folklor, no. 75 (2009): 21–43. http://dx.doi.org/10.2298/pkjif0975021p.
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In "The Milman Parry Collection of Oral Literature" on Harvard University out of 131 epic songs recorded from Milovan Vojicic, several are dedicated to the popular theme of the Serbian and Balkan epic - the Kosovo Battle 1389 (Prince Lazar and Milos Obilic, The Defeat of Kosovo, ?he Kosovo Tragedy, The Kosovo Field after the Battle, The Death of Mother Jugovici, The Death of Pavle Orlovic at Kosovo, noted in 1933-34 in Nevesinje). The paper examines Vojicic?s Kosovo songs from the perspective of textual, stylistic and rhetoric criticism, poetics, and memory studies. An analysis of Milovan Vojicic?s Kosovo epic poetry leaves an impression of an active singer who has internalised tradition, and on this foundation composes new works in the traditional manner and "in the folk style". Vojicic is a literate singer who was familiar with the collections of Vuk Karadzic, Bogoljub Petranovic, the Matica Hrvatska, and the songbooks of the time. He did not hesitate to remake or rewrite songs from printed collections or periodicals, which means that his understanding of authorship was in the traditional spirit. Vojicic?s compilations lie on that delicate line between oral traditional and modern literary poetry; he is, naturally, not alone in this double role - the majority of the gusle-players who were his contemporaries could be similarly described. In the body of Kosovo epic poetry Vojicic?s songs stand out (The Death of Pavle Orlovic at Kosovo, The Kosovo Tragedy), where he abandons the printed model and achieves the kind of originality which is in fact part of tradition itself. Vojicic highly valued oral tradition and the opportunity to perform it, as part of the process of creating an image of himself as a folk gusle-player in modern terms. For this reason, his repertoire includes both old and new themes. They are sung according to the epic standard, but also in accordance with the modern standard of epic semi-literary works. In Vojicic?s world, oral tradition is an important component in viewing the historical past, and in perceiving reality and the singer?s place in it. The epic is a form of oral memory and the guardian of remembrance of past events; however it also provides a space for surveying and commenting on modern historical situations in a popularly accepted manner, at times in an ideological key, as seen in songs which gather together major historical events. This perception of the epic tradition and history is mirrored in the heterogeneity of the corpus and in the repertoire of songs, and is all a consequence of vastly changed conditions of origin, existence and acceptance, i.e. the consumption of oral works in the first half of the 20th century, in a process of interaction between literature and folklore.
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Teppeeva, Dzhamilya Ramazanovna. "LINGUOCULTURAL SPECIFICS OF THE KARACHAY-BALKAR FOLK SONG DISCOURSE." Philological Sciences. Issues of Theory and Practice, no. 4 (April 2019): 291–95. http://dx.doi.org/10.30853/filnauki.2019.4.61.
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Baker, Catherine. "When Seve Met Bregović: Folklore, Turbofolk and the Boundaries of Croatian Musical Identity." Nationalities Papers 36, no. 4 (2008): 741–64. http://dx.doi.org/10.1080/00905990802230514.
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In 2006 the Croatian singer Severina Vučković attempted to represent Croatia at the Eurovision Song Contest with a song arranged by Goran Bregović, the ex-Yugoslav musician from Sarajevo. Before the song “Moja štikla” [My Stiletto] had even been released, the Croatian (and Serbian) mass media had questioned its “Croatianness” in an escalating sequence of claims and counter-claims to authenticity. Its use of musical elements based on folk song and dance left it open to allegations that it had compromised folk music's authenticity; those elements’ regional associations (especiallygangaandrerasinging from Lika and Herzegovina) connoted spaces which had been marginalized as “eastern” or “Balkan” in comparison to privileged inland and coastal traditions; the involvement of Bregović (represented as Serbian throughout the Croatian mass media) enabled suggestions that the song presented “Serbian folklore” or belonged to the Serbian genre of “turbofolk”—and all this in the particularly sensitive context of a competition which was supposed to symbolize Croatia's full European membership.
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Moody, Ivan. "Balkan Refrain: Form and Tradition in European Folk Song. By Dimitrije O. Golemović (review)." Notes 68, no. 1 (2011): 88–90. http://dx.doi.org/10.1353/not.2011.0118.
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Novik, Alexander. "GjirokastraFolklore Festival as the Main Ritual Event in Albanian Cultural Life at the Beginning of the 21st Century." Yearbook of Balkan and Baltic Studies 3 (December 2020): 157–82. http://dx.doi.org/10.7592/ybbs3.08.
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The paper presents an overview and analysis of the Gjirokastra National Folklore Festival (NFFoGj), one of the most important events in the cultural life of Albania. Global transformations that have affected all aspects of life have inevitably brought changes to traditional culture, traditional values and relations with the outside world, including across the Balkans. The majority of program issues were inspired by a common European practice of holding mass folklore events and measures aimed at nurturing and preserving cultural heritage. It is deeply connected to the process of revitalisation of old ritual practices and folk costume and to the socialisation of people who have professional and semi-professional associations with ethnic culture. Having analysed the materials collected in the run-up to the festival and during the event as well as during field studies in the Western Balkans in 1992–2019, I can acknowledge revitalisation of many, if not all, elements of folk culture. In this case revitalisation does not mean following the tradition literally, but rather an attempt to preserve it while adopting a modern perspective and advances in technology. The essential part of this process is the attempt to breathe new life into the components of traditional culture, and adapt them to the here and now. The NFFoGj has also become a major attempt to museificate the cultural heritage of the Albanians. Contests that have been held regularly over the past 70 years to reveal the best examples of folk art and support independent artists have encouraged interest in the roots of national culture and helped many generations not to forget what their predecessors valued. Thus, folk dance, music, songs and costume were reproduced – at times artificially – in various regions of the country to showcase the achievements of a locality (village, district, town, region) at the national festival as the main ritual cultural event.
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Sipos, János. "A lament from Bartók's anatolian collection and its musical background." Studia Musicologica 48, no. 1-2 (2007): 201–13. http://dx.doi.org/10.1556/smus.48.2007.1-2.13.
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Abstract Bartók collected folk music in Turkey in 1936, and his Turkish collection was published in 1976 almost simultaneously in Hungary and America, and in 1991 in Turkey. How Bartók's conclusions stand the test in the light of an examination on a larger Turkish material? I investigated this question in four of my books, and the detailed analysis points way beyond the scope of the present paper. This time I deal with a single melody, the No. 51 lament of Bartók's collection and with its larger Anatolian, Hungarian and other musical background. Can this melody be an important link between Hungarian and Anatolian folk music layers? If so, why did Bartók not realize this? Does Bartók's incredibly detailed way of transcription has practical benefits in the ethnomusicological research? Is the unique intonation of certain tones in some Anatolian and Hungarian laments accidental or do these tones show a consistent system? Can we find the musical form represented by this Turkish lament in the folk music of Turkic and other people; is yes, what kind of conclusion can be drown? Trying to find an answer to some of these questions I use the melodies and the results of my Turkish, Azeri, Karachay-Balkar, Kazakh, Mongolian and Kyrgyz researches of more then 7000 songs.
Dissertations / Theses on the topic "Folk songs, Balkan"
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Stamper, Randall Lawrence. "Gonna Spread the News all Around: Early, African-American Popular Song as Spoken Newspaper." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/2136.
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Lynch-Thomason, Sara. "“I’ve Always Identified with the Women:” How Appalachian Women Ballad Singers’ Repertoire Choices Reflect Their Gendered Concerns." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etd/3488.
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This thesis explores how contemporary Appalachian women’s gendered experiences influence their choices of ballad repertoire. This inquiry is pursued through a feminist analysis of interviews with six women ballad singers from Madison County, North Carolina. In evaluating the women’s choices of ballads and their commentary on the songs, this thesis draws upon narratological theories as well as concepts from Appalachian traditional music studies.
This study finds that women’s repertoire preferences reveal contemporary female concerns for physical safety and political agency. The singers also extract hidden transcripts from ballad texts and use ballads to educate audiences about women’s historic oppression. However, some singers find other factors, such as a song’s tune, or its significance as a part of regional heritage, to be more significant than the narrative content of the songs. This work affirms the contemporary influences of gendered concerns in ballad singing communities.
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Visagie, Jan Andries Gysbert. "Volkspoësie : die bestaan en ontwikkeling van die begrip in Afrikaans, met besondere verwysing na die bydrae van N.P. Van Wyk Louw en D.J. Opperman." Thesis, 1997. http://hdl.handle.net/10500/17816.
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Summaries in Afrikaans and English<br>Die term "volkspoesie" is reeds in die agtiende eeu deur Johann
Gottfried Herder gebruik. Dit kom steeds in Europese tale soos
Nederlands en Dui ts voor en word oak in Afrikaans gebruik.
Belangstelling in die genre word in twee verskillende vakgebiede
aangetref: die volkskunde en die letterkunde.
Volkspoesie is poesie wat deur 'n individu geskep word, maar
soveel aanklank vind by die "gewone publiek" dat hulle dit as
11volksbesit 11 aanvaar en mondel ing oordra. Die oorspronklike
skepper raak dus vergete, die kunswerk bestaan anoniem voort en
variante ontstaan. Volkspoesie het verskeie verskyningsvorme
soos die volkslied( jie), die ballade, rympies en raaisels.
Eiesoortige kenmerke is: spontaneiteit, eenvoud, die irrasionele.
Alhoewel volkspoesie oor "landsgrense11 heen kan swerf, is
bepaalde vorme daarvan dikwels streekgebonde.
Nieteenstaande sy bevraagtekening van die term in die vyftigerjare
het N.P. van Wyk Louw dit ook self gebruik. Sy gedigreeks
11 Klipwerk uit Nuwe verse (1954) het 'n nuwe belangstelling in
volkspoesie gewek. Later het hy die reeks bestempel as 'n "soort
volkspoesie wat hy doelbewus wou skep: volksversagtige" gedigte,
gebind aan die digter se jeugwereld.
D.J. Opperman het in sy proefskrif van 1953 ook ender meer 'n
belangstelling in volkspoesie geopenbaar en in 1962 gewys op die
volkse in moderne Afrikaanse digkuns. Sy laaste digbundel,
Kamas uit 'n bamboesstok ( 1979), word as 'n volksboek met
volkspoesie-eienskappe aangebied.
Die vorm en eienskappe van volkspoesie vind neerslag in beide Van
Wyk Louw en Opperman se werk. Aanvanklik skryf Van Wyk Louw
heelwat volksversagtige gedigte en later gebruik hy ook
volksballade-eienskappe in sy ballades. Ook in Tristia (1962)
kom eienskappe van volksliedjies en rympies voor. Opperman
verwerk meermale bestaande volksliedjies en -rympies in sy poesie
en gebruik dit betekenisverruimend as verwysingsveld.
Die twee digters se belangstelling in volkspoesie het gelei tot
'n verdere ontginning van die "volkse" vers in Afrikaans, onder
andere deur digters soos Boerneef, Adam Small en Breyten Breytenbach.
Volkskundige navorsing deur P.W. Grobbelaar en andere het
in die moderne tyd ook die aandag op hierdie onderwerp gevestig.
In die tagtigerjare is mondelinge Afrikaanse poesie selfs deur
swartmense in hulle politieke stryd gebruik!<br>The term "folk-poetry" had already been used by Johann Gottfried
Herder in the eighteenth century. It has ever since prevailed
in European languages such as Dutch and German and is also found
in Afrikaans. Interest in this genre occurs in two different
fields of study: folklore and literature.
"Folk-poetry" is poetry created by the individual and accepted
by the "general public" to a large extent. Therefore it is
acknowledged as common property and passed on by word of mouth.
The original creator is thus forgotten, the work of art prevails
anonymously and different versions come into being. "Folkpoetry"
appears in a variety of forms: the folk-song( s), the
ballad, rhymes and riddles. Particular characteristics are:
spontaneousness, simplicity, the irrational. Although "folkpoetry"
may cross "national borders", some forms are often
regional.
Despite his questioning the term in the fifties, N.P. van Wyk
Louw used it himself. His poetry series "Klipwerk" from Nuwe
verse (1954) gave rise to a new interest in ''folk-poetry". He
afterwards labelled the series as "a kind of folk-poetry" which
he deliberately wanted to create: "folksy" poems, relating to the
world of the poet's youth.
In his 1953 thesis D.J. Opperman also showed amongst others an
interest in "folk-poetry" and in 1962 pointed out the "folksy"
identity in contemporary Afrikaans poetry. His last anthology,
Kamas uit 'n bamboesstok (1979), is presented as a folk book with
"folk-poetry" characteristics.
The form and characteristics of "folk-poetry" are embedded in
both Van Wyk Louw's and Opperman's work. Initially Van Wyk Louw
wrote quite a number of "folksy" poems and afterwards also used
folk-ballad characteristics in the ballads he wrote. Characteristics
of folk-songs and rhymes also occur in Tristia (1962).
Opperman adapts existing folk-songs and rhymes in his poetry and
uses it as framework to broaden the meaning.
These two poets' interest in "folk-poetry" resulted in further
exploration of the "folksy" verse in Afrikaans, among others by
poets like Boerneef, Adam Small and Breyten Breytenbach. Folk
research by P.W. Grobbelaar and others focused attention on this
subject. In the eighties even blacks used oral Afrikaans poetry
in their political struggle!<br>Afrikaans and Theory of Literature<br>D. Lit. et Phil. (Afrikaans)
Books on the topic "Folk songs, Balkan"
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Nada, Petković-Djordjević, ed. Balkan epic: Song, history, modernity. Scarecrow Press, 2011.
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Kh, Malkonduev Kh. Obri͡a︡dovo-mifologicheskai͡a︡ poėzii͡a︡ balkart͡s︡ev i karachaevt͡s︡ev: Zhanrovye i khudozhestvenno-poėticheskie tradit͡s︡ii. Ėlʹ-Fa, 1996.
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I, Amzulescu Al. Repere și popasuri în cercetarea poeziei populare. Editura Minerva, 1989.
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The rose & the briar: Death, love and liberty in the American ballad. W.W. Norton, 2005.
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Hristozova, Miglena. Veda Slovena Zwischen Mythos und Geschichte. Zur Problematik Von Identitaetsdiskursen Auf Dem Balkan. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2012.
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Lange, Barbara Rose. Ági Szalóki and Multiethnic Femininity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.003.0003.
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Chapter 2 details how female performers with Romani (Gypsy) and Magyar ancestry face constraints of mixed ethnicity and gender, discussing the career of singer Ági Szalóki. The chapter outlines how Magyar female performers singing music of all regional ethnicities contributed to the folk revival in Hungary from the 1970s to the present; the international star Márta Sebestyén gave inspiration to young minority performers such as Szalóki, who then oriented their solo careers toward the liberalized society and the middle class. The chapter details how Szalóki left a Balkan Romani-style band to pursue solo projects that blended folk song and jazz, resisting expectations that Romani and other folk music should sound rustic. The chapter argues that Szalóki’s projects got the best response in feminine spheres such as children’s music, even as her solo work challenged ideas around male leadership. It describes ways in which Szalóki spoke out against far-right nationalism.
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Tanzili͡a︡, Khadzhilany, ред. Kʺarachaĭ-Malkʺar folʹklor: Khrestomatii͡a︡. "Ėlʹ-Fa" basma ara, 1996.
Find full textBook chapters on the topic "Folk songs, Balkan"
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Davis, Susan G. "Advanced Studies in Folklore." In Dirty Jokes and Bawdy Songs. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042614.003.0007.
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In 1953, forced out of business by postal authorities, Legman moved to Paris. There he turned his attention to a long-planned series, Advanced Studies in Folklore, which he hoped would eventually cover songs, stories, jokes, rhymes, and vocabulary, as well as nonverbal forms like gestures and graffiti. His first volume in the series was anonymous, The Limerick (1954), which garnered him fans in the United States and provided a modest income. Legman moved on to research folk songs in English that had been censored or ignored because of their erotic or obscene content. His “Ballad” project would occupy Legman for decades. As he worked on it, Legman corresponded extensively with folklorists such as Roger Abrahams, Vance Randolph, and Kenneth Goldstein and with archivists at the Library of Congress. His letters reveal his romantic, textual orientation toward folk song and show his efforts to open folklore study to consideration of obscenity and erotica. Legman’s persistent research led to such important discoveries as an unpublished song manuscript by Robert Burns and to a deep understanding of the history of folk song collecting. It also gave him productive friendships with the British folklorists and folk song revival singers Ewan MacColl and Hamish Henderson.
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Davis, Susan G. "“The Ballad” and the Horn Book." In Dirty Jokes and Bawdy Songs. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042614.003.0008.
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While working on his studies of suppressed erotic folk song, Legman wrote a series of studies on the historical and bibliographic problems of studying erotica in an era of censorship. These appeared in The Horn Book (1963) to praise from American and English folklorists. Legman continued to try to compile the definitive work on censored folk song in English, now collaborating with journalist Ed Cray. After several years of sharing materials and ideas, Cray published his own book based in part on their joint labors, and Legman was forced to put his ballad project aside. These years also saw the end of his marriage to Beverley Keith, the birth of his daughter Ariëla, and his unsuccessful attempt to return to the United States in 1964 as a visiting scholar and lecturer. Also, in 1964-65, Legman was able to observe the San Francisco counterculture and the Berkeley free speech movement and wrote up his harshly negative conclusions in his pamphlet The Fake Revolt (1967).
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DiSavino, Elizabeth. "7. Introduction by Elizabeth DiSavino." In Katherine Jackson French. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813178523.003.0008.
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By at least one account, Katherine Jackson had, by 1909, accumulated over sixty ballads (five more than were included in Campbell and Sharp’s 1917 English Folk Songs from the Southern Appalachians) and set about compiling them in a scholarly manner. Sadly, a large number of those ballads were lost over the years, and fewer than half remain today. I have included everything that remains of the collection, a total of twenty-eight ballads (twenty-five of British origin and three native) in forty-three variants, one thirteenth-century song, and one Appalachian tune. Four versions of Jackson’s ballad collection can be found in the Berea College Special Collections and Archives, and almost all the ballads printed in this book can be found in one of those four versions. A few had migrated to other collections, including those of Gladys Jameson, James Watt Raine, and E. C. Perrow. I have noted the collection or collections from which each song comes, and I have edited Jackson’s introduction by weaving together parts from several versions of her manuscript....
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Stock, Jonathan P. J. "The Rise of a Local Opera form in east China, up to 1920." In Huju. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262733.003.0002.
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Scholars of Shanghai opera accord their tradition, huju, a history of some two centuries or more, typically describing its rise in terms of a development from local traditions of folk song to balladry, and from ballad-singing to staged and costumed opera (in the 1920s). This chapter begins with a brief summary of the history of opera in China to provide initial orientation for the subsequent evaluation of how huju relates to and contrasts with other dramatic forms. The analysis draws on surviving primary and secondary source materials, such as the memoirs of old singers, to assess the question as to how much huju changed as it gained acceptance in the city of Shanghai. The data suggests that the generally cited model of development through stages of folk song-ballad-local opera is in need of revision, and new models are generated.
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Stoia, Nicholas. "From “Captain Kidd” to Gospel Music." In Sweet Thing. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190881979.003.0002.
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The roots of the “Sweet Thing” scheme reach back to sixteenth-century Scotland and England. One of the main branches of this lineage crosses the Atlantic as a penitent broadside ballad castigating Captain William Kidd, a pirate sent to the gallows in London in 1701. Chapter 1 concerns the history of this branch: the long journey of a stanzaic structure from ancient Scottish popular song through English broadside balladry, from the transatlantic broadside “Captain Kidd” through the fervent folk hymnody of the Great Awakening, and from nineteenth-century popular song and urban revivalism to twentieth-century gospel music. Throughout this span, the distinctive rhythmic and textual attributes of the form are apparent in all of the genres that it crosses. In both broadsides and folk hymns we can observe or reconstruct certain melodic characteristics that accompany the form, and in the folk hymns we can also see some general harmonic attributes.
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Davis, Susan G. "Under Mt. Cheiron." In Dirty Jokes and Bawdy Songs. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042614.003.0011.
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From the late 1970s until his final illness, Legman worked to bring his big projects to press and to write his memoirs. Turning back to his work on erotic folk song, Legman aimed to complete his long-delayed “Ballad” manuscript but decided that it was more important to bring out Vance Randolph’s unpublished manuscripts on erotic folklore of the Ozarks. These became two volumes edited and introduced by Legman, Roll Me in Your Arms and Blow the Candle Out (1992). Legman also began his memoir, Peregrine Penis: An Autobiography of Innocence, detailing his growing up, his self-education in sex research, and his erotic and publishing adventures. This chapter shows Legman reconstructing and evaluating past incidents with his correspondents, especially Jay Landesman. In 1986 he made his last visit to the United States for a lecture tour. In France he continued to receive writers who interviewed him about his life’s work and views on sex and censorship. After a long period of ill health, Legman died of the results of a stroke in February 1999. A conclusion to this chapter emphasizes Legman’s bibliographic contributions to the history of erotica and sexuality and evaluates his place in folklore scholarship, a discipline that received him with ambivalence.