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Relevant bibliographies by topics / Greek ballads and songs

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Academic literature on the topic 'Greek ballads and songs'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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Journal articles on the topic "Greek ballads and songs"

1

Myrsiades, Linda Suny. "Historical Source Material for the Karagkiozis Performance." Theatre Research International 10, no. 3 (1985): 213–25. http://dx.doi.org/10.1017/s0307883300010890.

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Karagkiozis, or Greek shadow puppet theatre, is a theatrical form that reflects nineteenth-century Greek oral culture. It utilizes a variety of national and regional costumes, dialects, and manners. Having developed in Greece during the period of that nation's modern history, it expresses the continuity of Greek culture and carries its themes, scenes of daily life, and characters. It retains, moreover, vestiges, or perhaps more accurately resurgences, of the pagan as well as the Christian past. Folk characters and types from folk plays and tales – the quack doctor, old man, old woman, devil Jew, Vlach, Moor, Gypsy, swaggering soldier, old rustic, jesting servant, trickster, parasite, stuttering child, ogre, dragon, bald-chin, and the great beauty – are its types as well. Popular folk dances, regional songs, and heroic poetry and ballads appear throughout Karagkiozis performances.

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Walsh, Kieran. "Irish Songs and Ballads." BMJ 332, no. 7535 (January 28, 2006): gp40.2—gp40. http://dx.doi.org/10.1136/bmj.332.7535.sgp40-a.

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Czerwinski, E. J., and Emery George. "Valse Triste: Songs and Ballads." World Literature Today 73, no. 1 (1999): 153. http://dx.doi.org/10.2307/40154560.

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Murray, Alan, and Nigel Gatherer. "Songs and Ballads of Dundee." Jahrbuch für Volksliedforschung 32 (1987): 197. http://dx.doi.org/10.2307/849478.

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Bohlman, Philip V., Rochelle Wright, and Robert L. Wright. "Danish Emigrant Ballads and Songs." Ethnomusicology 30, no. 1 (1986): 169. http://dx.doi.org/10.2307/851851.

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Baker, Ronald L., Rochelle Wright, and Robert L. Wright. "Danish Emigrant Ballads and Songs." Journal of American Folklore 98, no. 389 (July 1985): 366. http://dx.doi.org/10.2307/539958.

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Kvideland, Reimund, Rochelle Wright, Robert L. Wright, and Richard P. Smiraglia. "Danish Emigrant Ballads and Songs." Jahrbuch für Volksliedforschung 31 (1986): 175. http://dx.doi.org/10.2307/848335.

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METZER, DAVID. "The Power Ballad and the Power of Sentimentality." Journal of American Studies 50, no. 3 (June 15, 2015): 659–77. http://dx.doi.org/10.1017/s0021875815001139.

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As is evident in their popularity and uses in television and film, power ballads have been prized for their emotional intensity. That intensity results from the ways in which the songs transform aspects of sentimentality developed in nineteenth- and twentieth-century repertoires, particularly parlor songs and torch songs. Power ballads energize sentimental topics and affects with rapturous feelings of uplift. Instead of concentrating on individual emotions like earlier sentimental songs do, power ballads create charged clouds of mixed emotions that produce feelings of euphoria. The emotional adrenaline rushes in power ballads are characteristic of larger experiences in popular culture in which emotions are to be grand, indiscriminate, and immediate.

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Atkinson, David. "‘This is England’? Sense of Place in English Narrative Ballads." Victoriographies 3, no. 1 (May 2013): 1–22. http://dx.doi.org/10.3366/vic.2013.0103.

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Rightly or wrongly, ballads and folk songs collected in England are often thought to embody a sense of Englishness, even though substantial numbers of the items contained in such collections could equally be found in, say, Scotland, or even America. Nevertheless, ballad texts do reference topology and environment, and they do reference specific localities. However, while it is not difficult to think of some songs that unequivocally identify a fairly specific location (‘Rufford Park Poachers’ and ‘The Folkestone Murder’ are discussed here), many of the classical ballads in particular establish locality in much more elliptical fashion. Looking at a selection of ballads and their variants, both as collected songs and in broadside print, I aim to sketch out the way(s) in which ballads maintain a fragile, allusive sense of place. Albeit that it is inevitably overshadowed by the emphasis on action and emotion that characterise ballad style, what is here described as an ‘elliptical’ sense of place is nonetheless an important facet of the ‘feel’ of these ballads.

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Allen, Joseph R., and Anne Birrell. "Popular Songs and Ballads of Han China." Harvard Journal of Asiatic Studies 51, no. 1 (June 1991): 309. http://dx.doi.org/10.2307/2719248.

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Dissertations / Theses on the topic "Greek ballads and songs"

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Landau, Gregorio. "The role of music in the Nicaraguan Revolution /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9935470.

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Mierowska, Jean Elaine Nora. "The ballads of Carl Loewe : examined within their cultural, human and aesthetic context." Thesis, Rhodes University, 1989. http://eprints.ru.ac.za/2310/1/MIEROWSKA-PhD(Music)-TR90-50.pdf.

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This thesis has been written in order to provide, especially for the non-German-reading musician, a fuller picture of Loewe and his ballads than has been available up to now. This picture is developed within the literary background history of the ballad poems, and the literary, mental, and musical climate at the beginning of the Romantic era; further, Loewe's life, as revealed in his many letters, his diaries, and his autobiography, provides the human context from which the ballads emerge as a logical extension of his personality. These earlier parts of the thesis have considerable bearing on the appreciation of Loewe's timely position in musical history, treating as they do with the popularity of the ballad poems, the rapid expansion of the means of musical/emotional expression, and the complete acceptance of that most romantic and versatile of soloinstruments, the piano. Loewe's temperamental affinity with the poetry of the ballads is shown to have affected his choice of subject, and in many cases the ultimate quality of the music is obviously dependent upon the strength or otherwise of his attraction. After observations on Loewe's vocal and piano writing, the thesis treats the ballads primarily with regard to their feeling and emotional content, and investigates the musical means by which this is conveyed. Categories are suggested, and ballads of similar dramatic, pictorial, or emotional type are discussed and compared. Certain formal characteristics are examined, in particular Loewe's use of highly organised motivic work in certain ballads, which foreshadows its later use by Liszt, Wagner and others. Over one hundred of Loewe's 120 ballads are dealt with, some in extensive detail~ and copious musical examples are given. The few comparatively well-known ballads receive due attention, but it was regarded as important to bring to light some of the more neglected or unknown ballads, many of which possess great beauty and originality, amply repaying study and, still more, performance. As a corollary, the approach of the performer is considered, and the Conclusion argues for an informed :esthetic appreciation of Loewe's ballads and their place in teday' s vocal repertoire.

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Hardwick, Victoria. "A legacy of hope : criticial songs of the GDR 1960-1989 /." Title page, table of contents and abstract only, 1996. http://web4.library.adelaide.edu.au/theses/09PH/09phh267.pdf.

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Hill, J. D. (Joseph David). "Syllabification and syllable weight in Ancient Greek songs." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/45930.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Linguistics and Philosophy, 2008.
Includes bibliographical references (p. 89-91).
This thesis is about phonetic events, phonetic representations, and the grammatical constraints on those representations, with respect to one particular phonetic dimension: time. It focuses on a process called beat mapping, whose clearest manifestation is in singing (as opposed to "ordinary" speech). This is the mapping of a sequence of syllables/segments onto a sequence of timing units or beats. The empirical ground is provided by Ancient Greek musical scores. We analyze the way that sensitivity to syllable weight manifests itself in beat mapping. In Ancient Greek, the musical quantity of syllables (their duration, counted in beats) is tightly controlled by their type. Taking this as a robust example of a weight-sensitive process, we set out to demonstrate that syllable weight is not about syllables, but about segments; this is contrary to what current theories of syllable weight assume (see Gordon 2004). We attempt to derive both syllable weight and syllable constituency itself from constraints on the beat mapping of segments. This beat mapping grammar is developed within the general framework of Generalized Correspondence Theory (McCarthy and Prince 2005), and exploits certain properties of correspondence relations, notably non-linearity and reciprocity (bidirectionality). The mapping of segments onto beats respects their linear order but does not reflect them: it is a many-to-many mapping. Correspondence also provides the basis for a new definition of "syllable," which rests on two things: the reciprocity of correspondence relations, and a principle of "salience matching" in mappings between non-homologous domains.
by J.D. Hill.
S.M.

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Myer, Brent A. "Playing on the margins local musicians and their resistance projects /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5937.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on March 7, 2008) Includes bibliographical references.

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Messoloras, Irene Rose. "East meets West arranging traditional Greek folk songs for modern chorus /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1666907321&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Thesis (D.M.A.)--UCLA, 2008.
Vita. Part II consists of six traditional Greek folk songs transcribed and arranged for mixed chorus and women's chorus. Includes bibliographical references (leaves 81-83) and discography (leaves 84-85).

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Williamson, Linda Jane. "Narrative singing among the Scots travellers : a study of strophic variation in ballad performance." Thesis, University of Edinburgh, 1985. http://hdl.handle.net/1842/8223.

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Two modes of singing were evident in narrative performances recorded by Scots travellers: singing set melodies to memorized or re-created texts, and improvising on a variable melody to a memorized or a variable text. In travellers' society both modes are acceptable but the majority of travellers today prefer set melodies. The improvisatory mode was traditional and used by the older travellers born before World War I, five of whom became my informants or Ewan NacColl's, re. Travellers' Songs from England and Scotland (1977). The tradition of narrative improvisation appears to be obsolete with the death of Mrs Martha Johnstone (Perthshire), 1980. But her 108 sung performances, 66 songs and 34 narratives recorded between 1955 and 1978, by four fieldworkers, provide valuable material for the study of strophic variability -- its function in the singer's interpretation of an essential story (Lord, 1960 and Buchan, 1972) in performance. Strophic variability is related to the Danish ballad singers' usage of variable intonations, and the author's musical analysis of the diachronic variants of Martha Johnstone's improvisatory ballads follows Thorkild Knudsen's theory of ballad melody or "melodic idea" (1967, 1976). The majority of travellers' performances, however, do not exhibit such extreme structural variations. Their ballads feature regularity manifested in a "standard strophe." In performance the regularly recurring standard strophe is fluid, composed of musical equivalents or structural options at the level of pitch, figure, motive, phrase or strophe, which the singer may or may not choose to realize. Explanations for the presence or absence of variation or variants (musical equivalents) are discussed, particularly memory failure and uncertainty on the part of the singer. A high frequency of irregular strophes is evident in travellers' narrative songs. It can be shown that irregular strophes are often "fixed" in singers' versions. According to the author's thesis on variation as a process of volition and cognition, such irregular strophes are viewed as intentional and purposeful e.g., for expressing the climax or denouement of a narrative, or for heightening a particular dramatic or narrative episode within the singer's story. Testimonies from singers, their explanations and definitions bear out the truth of the analysis. Fifty-three examples of narrative performances by seven of the author's informants and six of MacColl's are featured in the work; thirty-nine are complete song transcriptions; fourteen are included on an accompanying cassette. Three especial singers, are from different "homeground areas" of the travellers in Scotland, are the subjects of the study - Martha Johnstone (Perthshire), Duncan Williamson (Argyllshire) and Johnnie Whyte (Angus). The work is the result of ten years' fieldwork among the Scots travellers and four years' continuous travelling with one extended family.

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8

Horn, Kipps 1949. "Rebetika music in Melbourne, 1950-2000 : old songs in a new land, new songlines in an old land." Monash University, School of Music-Conservatorium, 2002. http://arrow.monash.edu.au/hdl/1959.1/8015.

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Lee, Pei-Ling. "The Re-Construction of the Taiwanese Identity in the Process of Decolonization: The Taiwanese Political Songs Analyses." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1206136433.

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Jackson-Houlston, Caroline Mary. "Ballads, songs and snatches : the appropriation of, and responses to, folk song and popular music culture in the nineteenth century." Thesis, Oxford Brookes University, 2010. http://radar.brookes.ac.uk/radar/items/9e1ec114-8faf-9eef-65eb-95772b5a8423/1.

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Ballads, Songs and Snatches demonstrates how allusion to folk song and some aspects of popular musical culture were absorbed into the polyphony of discourses in the realist prose of the nineteenth century, and explores the implications of the various transformations that occurred during this process, with an emphasis on the representation of the labouring classes. Wide and deep acquaintance with folk tradition is shown to account for richly dense literary textuaJity, especially in Scott and Hardy, even where they mediate their knowledge tactically. Lack of that knowledge is consonant with weakness in such representation. The sources used by each writer are identified as accurately as possible. The book is necessarily interdisciplinary, bringing together literary and folk song study and scholarship. It defines a new category for discourse analysis, the 'false intertext', i.e. supposed allusions to folk song or other texts actually composed by the prose writers themselves. It investigates the effects within the literary texts both of these false intertexts and of the inclusion of material so heavily mediated as substantially to misrepresent the original compositions. In the course of this discussion it outlines ways in which authors appealed to audiences often stratified along class and gender lines. The chapter and article extend the concerns of the book, especially Chapter 6, with the discourse of popular songs of the early nineteenth-century song-and-supper rooms. Both continue to address questions of readership, both contemporary and more recent. 'The Cheek of the Young Person: Sexualized Popular Discourse as Subtext in Dickens' overturns assumptions about the canonical respectability of Dickens's earlier work. "'With Mike Hunt I Have Travelled Over the Town": the Norms of "Deviance" in Sub-respectable Nineteenth-century Song' uses popular but critically outlawed material to problematize the position of the literary critic and to offer an alternative to Raymond Williams' model of ideological development.

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Books on the topic "Greek ballads and songs"

1

One green hill: Journeys through Irish songs. Belfast: Beyond the Pale, 2003.

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Kapsōmenos, Eratosthenēs G. To Krētiko historiko tragoudi: Hē domē kai hē ideologia tou. Athēna: I. Zacharopoulos, 1987.

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3

Robin, Skelton, ed. Songs and ballads. Toronto: Guernica, 1997.

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Lorca, Federico García. Songs and ballads. Montreal: Guernica, 1992.

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George, Emery Edward. Valse triste: Songs and ballads. Lewiston, N.Y: Mellen Poetry Press, 1997.

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6

Brown, Betty Collins. Ballads, blues, and blessings. United States: Xlibris, 2009.

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Brown, Betty Collins. Ballads, blues, and blessings. United States: Xlibris, 2009.

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Bellman, Carl Michael. Fredman's epistles & songs. Stockholm: Proprius, 1990.

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Davidson, John. Ballads & Songs. Adamant Media Corporation, 2001.

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Songs & Ballads. Prelude Books, 2018.

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Book chapters on the topic "Greek ballads and songs"

1

Weiner, Stephanie Kuduk. "‘Sea Songs Love Ballads &c &c’: John Clare and Vernacular Song." In Palgrave Advances in John Clare Studies, 61–85. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-43374-1_4.

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Nagy, Gregory. "2. Metrical convergences and divergences in early Greek poetry and songs." In Historical Philology, 151. Amsterdam: John Benjamins Publishing Company, 1992. http://dx.doi.org/10.1075/cilt.87.23nag.

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O’Donnell, William H. "‘Anglo-Irish Ballads’, by F. R. Higgins and W. B. Yeats, in Broadsides: A Collection of Old and New Songs (1935)." In Prefaces and Introductions, 175–81. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-06236-2_29.

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Ceulemans, Reinhart, and Margaret Dimitrova. "The Slavonic Catena also known as the ‘Commentary of Philo’ and the Greek Catena Hauniensis on the Song of Songs." In Studies in Byzantine History and Civilization, 109–44. Turnhout, Belgium: Brepols Publishers, 2019. http://dx.doi.org/10.1484/m.sbhc-eb.5.117146.

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"Ballads Transformed." In Songs without Words, 12–58. Boydell and Brewer Limited, 2016. http://dx.doi.org/10.1017/9781782048350.003.

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Fox, Adam. "Ballads and Songs." In The Press and the People, 306–48. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198791294.003.0009.

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Chapter 8 deals with the broadside ballads and printed songs issued in Scotland between the sixteenth and the eighteenth centuries. It traces both the import of English texts and the production of domestic presses. The manner in which lyrics and tunes from south of the border influenced the development of single-sheet songs in Scotland is assessed. At the same time an independent repertoire of Scottish ballads in print is recovered and analysed. The discussion illustrates the ways in which political events and social change in early modern Scotland are reflected in the texts of these cheap and popular publications.

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Botkin, B. A., and Louis Filler. "Ballads and Songs." In The American People, 333–84. Routledge, 2020. http://dx.doi.org/10.4324/9780429338847-23.

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"Ballads and Songs." In Lore of an Adirondack County, 42–84. Cornell University Press, 2018. http://dx.doi.org/10.7591/9781501723650-010.

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Kuhn, Christian. "Ballads, Songs, and Libels." In Handbook of Medieval Studies, edited by Albrecht Classen. Berlin, New York: De Gruyter, 2010. http://dx.doi.org/10.1515/9783110215588.1618.

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Holloway, John, and Joan Black. "Love Songs and Narratives." In Later English Broadside Ballads, 19–33. Routledge, 2020. http://dx.doi.org/10.4324/9781003060482-2.

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