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Journal articles on the topic 'Greek ballads and songs'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Marney, John, and Anne Birrell. "Popular Songs and Ballads of Han China." Chinese Literature: Essays, Articles, Reviews (CLEAR) 13 (December 1991): 131. http://dx.doi.org/10.2307/495061.

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12

Witzleben, J. Lawrence, and Anne Birrell. "Popular Songs and Ballads of Han China." Notes 52, no. 3 (March 1996): 803. http://dx.doi.org/10.2307/898633.

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13

ENGLISH, MARK. "SOME HAZLITT QUOTATIONS FROM SONGS AND BALLADS." Notes and Queries 47, no. 3 (September 1, 2000): 322–23. http://dx.doi.org/10.1093/nq/47-3-322.

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14

ENGLISH, MARK. "SOME HAZLITT QUOTATIONS FROM SONGS AND BALLADS." Notes and Queries 47, no. 3 (2000): 322–23. http://dx.doi.org/10.1093/nq/47.3.322.

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15

Bernaviz, Nimrod, and Anne Birrell. "Popular Songs and Ballads of Han China." Asian Music 25, no. 1/2 (1993): 221. http://dx.doi.org/10.2307/834199.

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16

Kraja, Danela Bala. "The Role of Metamorphosis in Anglo- Saxon Ballads, Albanian Ballads and Frontier Warrior Songs." European Journal of Interdisciplinary Studies 6, no. 1 (January 1, 2020): 28. http://dx.doi.org/10.26417/ejis.v6i1.p28-32.

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This article aims to point out the role of metamorphosis in Anglo- Saxon ballads, Albanian ballads and frontier warrior songs. The Anglo- Saxon ballads and Albanian frontier warrior songs and ballads came into existence a long time ago and they had a certain number of influences which as a result had their great impact on their creation, development and circumstances when and where they were composed. They were created as a consequence of some special historical, cultural and social development. It has to be emphasized that those influences were of different character and size such as human, non-human or divine ones and the compositions of songs or ballads were inspired and conditioned by a lot of circumstances. Metamorphosis is used to express that never- ending process and of course it is transforming. The changes are either positive or negative and consequently people may perceive different good or bad feelings. It is related to the magic world and the unrealistic one and sometimes it is a beautiful feeling when a human being transforms into a rose and showing a form of life continuation after death but in many cases it transforms into a non-desirable object or animal. It is a quick transformation from one thing to another and it may have either positive or negative effects on the audience.

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17

Kennedy, Victor. "Aspects of Evil in Traditional Murder Ballads." ELOPE: English Language Overseas Perspectives and Enquiries 11, no. 1 (May 8, 2014): 93–109. http://dx.doi.org/10.4312/elope.11.1.93-109.

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Traditional, or folk, ballads deal with common themes, often “leaping” over some details of plot and character while “lingering” on others, with the result that songs passed down orally through generations often appear in many variants. This paper will examine several songs from Martin Simpson’s 1976 debut album, Golden Vanity. I will trace their historical origins and argue that even some ancient ballads still speak to audiences today.

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18

American Studies in Scandinavia, ASIS. "Wright & Wright: Danish Emigrant Ballads and Songs." American Studies in Scandinavia 17, no. 2 (September 1, 1985): 75–76. http://dx.doi.org/10.22439/asca.v17i2.1671.

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19

Field, Stephen. "Popular Songs and Ballads of Han China (review)." China Review International 7, no. 2 (2000): 396–98. http://dx.doi.org/10.1353/cri.2000.0077.

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20

KNAPP, RAYMOND. "Assassins, Oklahoma! and the ‘shifting fringe of dark around the camp-fire’." Cambridge Opera Journal 16, no. 1 (March 2004): 77–101. http://dx.doi.org/10.1017/s0954586704001788.

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Although widely perceived as untraditional and unpatriotic, Sondheim’s 1991 Assassins is neither; it is in fact based securely on themes and strategies developed within the mainstream tradition of the American musical. In both respects, it shows particular affinity to Rodgers and Hammerstein’s Oklahoma!, a relationship that becomes especially evident when considering the latter’s basis in Lynn Riggs’s Green Grow the Lilacs. The author examines related background, dialogue and individual songs from each musical, the latter including ‘Pore Jud’, ‘Lonely Room’ and ‘People Will Say We’re in Love’ from Oklahoma!, and ‘Everybody’s Got the Right’, ‘The Ballad of Booth’, ‘Gun Song’, ‘Unworthy of Your Love’, ‘Another National Anthem’ and the book depository scene from Assassins. Yet Assassins departs from the mainstream in one important respect: by failing to foreground adequately a sympathetic viewpoint (despite the addition of ‘Something Just Broke’), the show seems to place its dominant characters in opposition to the audience, who represent its real protagonist, the American people.

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21

Santhirasegaram, Sinnathamby. "Song Composition Systems of Sri Lankan Tamil Rural Poets." Shanlax International Journal of Tamil Research 5, no. 2 (October 1, 2020): 19–25. http://dx.doi.org/10.34293/tamil.v5i2.3485.

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There is a long tradition of folk song called Folk ballads (Kaddup padalkal) among the Sri Lankan Tamils. These songs, written by somewhat literate rural poets, are written on the paper or published as pamphlets, as small print copies. But, in their practical way, they are mostly handed over orally.When these Folk ballads (Kaddup padalkal) compose by the rural poets, they follow some rules and regulations. Linguistic regulations are the main one of them. These rules clearly distinguish oral literature from written literature. It has been generally followed that songs should be composed mainly on the basis of various verbal elements. Namely, different features follow the same repetitive methodology.Similarly, we can observe that there is more similarity in the rhythm of the songs. They have been singing their songs in certain rhythms. Thus, they have adopted the method of using oral song forms such as epic, ammānai, sinthu, kummi, thālāttu, oppāri, kavi according to the nature of the objects. Their form and music structures are mostly similar to folk songs.Moreover, a general structure has been followed to the theme of the songs.

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22

Kámán, Erzsébet. "The notion of destiny in epic songs and ballads." Acta Ethnographica Hungarica 47, no. 1-2 (July 2002): 35–39. http://dx.doi.org/10.1556/aethn.47.2002.1-2.5.

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23

Kraja, Danela Bala. "Relationships in Anglo-Saxon, Balkan Ballads and Epic Songs." European Journal of Language and Literature 6, no. 1 (December 1, 2016): 7. http://dx.doi.org/10.26417/ejls.v6i1.p7-12.

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This article aims to point out the diverse relationships that are to be found in Anglo- Saxon and Balkan ballads and epic songs. There were different kinds of relationships such as human and non- human relationships. The most important relationships were those familial ones because family stands as the most important part of the society. In many cases relationships cannot stand and cannot be treated alone because they are interconnected with other ones. In that time the mentality and behaviour were not the same with the ones we have nowadays as there were restrictions and unwritten laws and people were following them but as always happens they were not always going to be strictly followed and that generated conflicts and reactions. There are made different researches and parallels to understand how different peoples may react in different relationships. They had a real great and powerful significance and value on people and their connections and were an important factor on determining people’s behaviour, on stabilizing the tranquillity and peace of their families, societies and countries.

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24

Larrissy, Edward, and Heather Glen. "Vision and Disenchantment: Blake's 'Songs' and Wordsworth's 'Lyrical Ballads'." Yearbook of English Studies 17 (1987): 305. http://dx.doi.org/10.2307/3507715.

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25

Scuderi, Antonio. "Review: Moliseide: Songs and Ballads in the Molisan Dialect." Forum Italicum: A Journal of Italian Studies 29, no. 1 (March 1995): 225–27. http://dx.doi.org/10.1177/001458589502900133.

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26

Bender, Mark. "Passion, Poverty, and Travel: Traditional Hakka Songs and Ballads." CHINOPERL 36, no. 2 (July 3, 2017): 129–31. http://dx.doi.org/10.1080/01937774.2017.1337694.

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27

Holzapfel, Otto, Peter Balslev-Clausen, and Danish Hymns. "Songs from Denmark. A Collection of Danish Hymns, Songs and Ballads in English Translation." Jahrbuch für Volksliedforschung 33 (1988): 205. http://dx.doi.org/10.2307/847801.

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28

Mihara, Minoru. "Shakespearean Ballads in Thomas Percy’s Reliques of Ancient English Poetry: Transition from Oral Songs to Printed Historical Documents." Textual Cultures 10, no. 2 (October 18, 2018): 107–25. http://dx.doi.org/10.14434/textual.v10i2.22840.

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Thomas Percy’s ballad collection, Reliques of Ancient English Poetry, marks a point of intersection between balladry and Shakespeareana, which both went through a transitional phase from vocal performance to literary undertaking in the eighteenth century. In the Reliques, ballads that had been orally transmitted by minstrels were changed into validated printed sources for a scholarly project. This transition helped eighteenth-century editors gain a historical understanding of Shakespeare and emend his traditionally received texts. These editors were persuaded to use the ballads in the Reliques as reliable sources for their emendation since they were printed as authoritative documents that were useful for their academic editions of Shakespeare. They gained easy textual access to the printed ballads in the Reliques to search for contextual or emendatory materials. A comparison of four Shakespeare-related ballads in the Reliques (“King Cophetua and the Beggar-Maid,” “Take Thy Old Cloak about Thee,” “Willow, Willow, Willow,” and “The Passionate Shepherd to His Love”) to their counterparts in editions of Shakespeare reveals that the ballads that were printed as historical documents in the Reliques advanced the editors’ contextual illustration of Shakespeare and that they authorized the emendation of the textus receptus. This article focuses on the effect of the historical information provided by Percy’s printed ballads on George Steevens’s and Edmond Malone’s contextualization of Shakespeare and on their emendation of Shakespearean texts. In addition, it concentrates on the possibility that Edward Capell referred to Shakespearean ballads in Percy’s Reliques combined with old Quarto editions of Shakespeare’s works.

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29

Holzapfel, Otto, and Louise Pound. "The Southwestern Cowboy Songs and English and Scottish Popular Ballads." Jahrbuch für Volksliedforschung 36 (1991): 204. http://dx.doi.org/10.2307/847711.

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30

Marsh, Christopher. "THE WOMAN TO THE PLOW; AND THE MAN TO THE HEN-ROOST: WIVES, HUSBANDS AND BEST-SELLING BALLADS IN SEVENTEENTH-CENTURY ENGLAND." Transactions of the Royal Historical Society 28 (November 2, 2018): 65–88. http://dx.doi.org/10.1017/s008044011800004x.

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ABSTRACTThis paper investigates the representation of marital relations in some of the most successful broadside ballads published in seventeenth-century England. It explains the manner in which these have been selected as part of a funded research project, and it proceeds to question an existing historiographical emphasis on ballads in which marriages were portrayed as under threat due to a combination of wifely failings (scolding, adultery, violence) and husbandly shortcomings (sexual inadequacy, jealousy, weakness). Best-selling ballads were much more sympathetic to married women in particular than we might have expected, and the implications of this for our understanding of the ballad market and early modern culture more generally may be significant. These ballads, it is argued, were often aimed particularly at women, and they grew out of an interesting negotiation between male didacticism and female taste. Throughout the paper, an attempt is made to understand ballads as songs and visual artefacts, rather than merely as texts.

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31

Karbashevska, Oksana. "English Folk Ballads Collected By Cecil James Sharp in The Southern Appalachians: Genesis, Transformation and Ukrainian Parallels." Journal of Vasyl Stefanyk Precarpathian National University 1, no. 2-3 (December 22, 2014): 79–85. http://dx.doi.org/10.15330/jpnu.1.2-3.79-85.

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The purpose of this research, presented at the Conference sectional meeting, is to tracepeculiarities of transformation of British folk medieval ballads, which were brought to theSouthern Appalachians in the east of the USA by British immigrants at the end of the XVIIIth –beginning of the XIXth century and retained by their descendants, through analyzing certain textson the levels of motifs, dramatis personae, composition, style and artistic means, as well as tooutline relevant Ukrainian parallels. The analysis of such ballads, plot types and epic songs wascarried out: 1) British № 10: “The Twa Sisters” (21 variants); American “The Two Sisters”(5variants) and Ukrainian plot type I – C-5: “the elder sister drowns the younger one because of envyand jealousy” (8 variants); 2) British № 26: The Three Ravens” (2), “The Twa Corbies” (2);American “The Three Ravens” (1), “The Two Crows”(1) and Ukrainian epic songs with the motif oflonely death of a Cossack warrior on the steppe (4). In our study British traditional ballads areclassified according to the grouping worked out by the American scholar Francis Child(305 numbers), Ukrainian folk ballads – the plot-thematic catalogue developed by the Ukrainianfolklorist Оleksiy Dey (here 288 plots are divided into 3 spheres, cycles and plot types). Theinvestigation and comparison of the above indicated texts witness such main tendencies: 1) theAmerican counterparts, collected in the Appalachian Mountains, preserve the historic-nationalmemory and cultural heritage of the British immigrant bearers on the level of leading motifs,dramatis personae, composition peculiarities, traditional medieval images, epithets, similes,commonplaces; 2) some motifs, characters, images, artistic means, archaic and dialectal English ofthe Child ballads are reduced or substituted in the Appalachian texts; 3) realism of Americanballad transformations, which overshadows fantasy and aristocracy of their British prototypes, issimilar to the manner of poetic presentation of the typologically-arisen and described events by theUkrainian folk ballads and dumas .

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32

Metzer, David. "The power ballad." Popular Music 31, no. 3 (October 2012): 437–59. http://dx.doi.org/10.1017/s0261143012000347.

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AbstractThe power ballad has become a mainstay of popular music since the 1970s. This article offers a history of the songs and discusses their place in the larger field of popular music genres. The songs are defined by the use of both a musical formula based on constant escalation and an expressive formula that combines the euphoric uplift created by rousing music with sentimental themes and ploys. Contrary to views that power ballads first appeared in 1980s rock and are primarily rock numbers, the songs emerged in the 1970s pop recordings of Barry Manilow and others, and from early on crossed genre lines, including pop, rock and R&B. These crossings result in an exchange between the fervour of the power ballad and the distinct expressive qualities of the other genres. This article also places the power ballad in the larger history of the ballad. The songs are part of a shift toward more effusive and demonstrative styles of ballads underway since the 1960s. In addition, the emotional excesses of the power ballad fit into a larger change in the expressive tone of works across different popular culture media. With those works, emotions are to be large, ecstatic and immediate.

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33

Lardas, Konstantinos. "The Mourning Songs of Greek Women." College English 49, no. 1 (January 1987): 37. http://dx.doi.org/10.2307/377788.

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34

Leppert, Richard. "Civil War Imagery, Song, and Poetics: The Aesthetics of Sentiment, Grief, and Remembrance." 19th-Century Music 40, no. 1 (2016): 20–46. http://dx.doi.org/10.1525/ncm.2016.40.1.20.

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The American Civil War (1861–65) produced staggering numbers of casualties, including from what to this day remains the bloodiest one-day battle (Antietam) in the country's history. Most combatants were young, many still teenagers, or at most in their early twenties, a fact repeatedly and poignantly acknowledged in the poetry and prose of Walt Whitman. The Civil War was the first to be extensively photographed, which brought the realities of its extreme violence into sharp relief throughout the country on both sides of the conflict. Battlefield photographers often focused their cameras on the wounded and dead; some shot close-up corpse studies of young and often notably handsome men, whose physical beauty—likewise acknowledged by Whitman—increased the affective impact of the tragedy. The youth of Civil War soldiers was likewise reflected in thousands of popular ballads produced by Union and Confederate composers and marketed for home-front consumption. Ballads evoking the bond between a mother and her soldier son are especially common. Two such songs, lamentations, by the highly successful northern composer George W. Root are typical: “Just before the Battle, Mother” (1863) and “The Vacant Chair” (1861), the former voiced by a young soldier fearing that he will shortly be killed, and the latter remembering a boy who has fallen. Songs of this sort, explicitly sentimental and folklike, were sometimes critically disparaged even during the war years, though their general popularity (and the popularity of many other songs of this sort)—even to this day—remains considerable. The apparent, guileless sincerity of lamentation ballads develops from a resemblance to the lullaby, a genre evoking the tightest of all human bonds, that between the mother and child. These songs, too easily dismissed as mawkish and cliché-ridden, stay with us for deep-seated social and cultural reasons.

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35

Isaki, Fatmire, and Hyreme Gurra. "THE MOTIF OF RECOGNITION IN ENGLISH AND THE ALBANIAN BALLADS." Knowledge International Journal 28, no. 7 (December 10, 2018): 2345–48. http://dx.doi.org/10.35120/kij28072345f.

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Difficult war times and painful family events made people segregate. These events made folk singers create songs where they narrated how people recognized each other after a long time being far away from one another. This time period was known as a very dramatic process fulfilled with strong feelings. Different scops and bards created emotional songs with the motif of recognition between husband and wife (that will be explained with examples from Hind Horn and Aga Ymeri), between brother and sister (that will be explained with examples from Bonnie Farday and Gjon Petrika), and rarely between brother and brother. The aim of this paper is to make a comparative analysis with special emphasis on intersections and the dissimilar points of the English ballads and the Albanian ones which treat the motif of recognition. Since this papers goal is the comparative approach between ballads of two different literatures of different nations, our methods of analysis will be the narrative method and the comparative method. The narrative method will be used to point out the motif of recognition in each ballad particularly, while the comparative method will be used to make the comparison between ballads Hind Horn and Aga Ymeri where husband and wife recognize each other by a special sign as symbol of their true love, and between ballads Bonny Farday or Babylon and Gjon Petrika where with the help of a mark the identification of brother and sister occurs.

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36

Isaki, Fatmire, and Hyreme Gurra. "THE MOTIF OF RECOGNITION IN ENGLISH AND THE ALBANIAN BALLADS." Knowledge International Journal 28, no. 7 (December 10, 2018): 2345–48. http://dx.doi.org/10.35120/kij29082345f.

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Difficult war times and painful family events made people segregate. These events made folk singers create songs where they narrated how people recognized each other after a long time being far away from one another. This time period was known as a very dramatic process fulfilled with strong feelings. Different scops and bards created emotional songs with the motif of recognition between husband and wife (that will be explained with examples from Hind Horn and Aga Ymeri), between brother and sister (that will be explained with examples from Bonnie Farday and Gjon Petrika), and rarely between brother and brother. The aim of this paper is to make a comparative analysis with special emphasis on intersections and the dissimilar points of the English ballads and the Albanian ones which treat the motif of recognition. Since this papers goal is the comparative approach between ballads of two different literatures of different nations, our methods of analysis will be the narrative method and the comparative method. The narrative method will be used to point out the motif of recognition in each ballad particularly, while the comparative method will be used to make the comparison between ballads Hind Horn and Aga Ymeri where husband and wife recognize each other by a special sign as symbol of their true love, and between ballads Bonny Farday or Babylon and Gjon Petrika where with the help of a mark the identification of brother and sister occurs.

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37

Murphy, Emilie K. M. "Music and Catholic culture in post-Reformation Lancashire: piety, protest, and conversion." British Catholic History 32, no. 4 (September 11, 2015): 492–525. http://dx.doi.org/10.1017/bch.2015.18.

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AbstractThis essay adds to our existing understanding of what it meant to be a member of the English Catholic community during the late Elizabeth and early Stuart period by exploring Catholic musical culture in Lancashire. This was a uniquely Catholic village, which, like the majority of villages, towns and cities in early modern England, was filled with the singing of ballads. Ballads have almost exclusively been treated in scholarship as a ‘Protestant’ phenomenon and the ‘godly ballad’ associated with the very fabric of a distinctively Protestant Elizabethan and Stuart entertainment culture. By investigating the songs and ballads in two manuscript collections from the Catholic network surrounding the Blundell family this essay will show how Catholics both composed and ‘converted’ existing ballads to voice social, devotional, and political concerns. The ballads performed in Little Crosby highlight a vibrant Catholic community, where musical expression was fundamental. Performance widened the parochial religious divide, whilst enhancing Catholic integration. This essay uncovers the way Catholics used music to voice religious and exhort protest as much as prayer. Finally, by investigating the tunes and melodies preserved in the manuscripts, I demonstrate how priests serving this network used ballads as part of their missionary strategy.

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38

Friedman, Michael H. "Vision and Disenchantment: Blake's Songs and Wordsworth's Lyrical Ballads. Heather Glen." Wordsworth Circle 16, no. 4 (September 1985): 160–63. http://dx.doi.org/10.1086/twc24041245.

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39

Zečević, Ana. "Music elements in songs, ballads, poems and dramas by Laza Kostić." Kultura, no. 162 (2018): 321–42. http://dx.doi.org/10.5937/kultura1962321z.

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40

Young-Sook Suh. "Comparison of Psychological Consciousness in Korean Narrative Songs and Anglo-American Ballads: Focused on Tragic Love Songs." EOMUNYEONGU 79, no. ll (March 2014): 247–76. http://dx.doi.org/10.17297/rsll.2014.79..010.

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41

Pomeroy, Hilary. "Sephardi Balads." European Judaism 52, no. 2 (September 1, 2019): 82–94. http://dx.doi.org/10.3167/ej.2019.520207.

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Spanish ballads, narrative poems brought to Morocco following the Expulsion from Spain, became one of the most popular forms of entertainment in the cities where the Spanish Jews settled. However, entertainment was not the only purpose of these highly dramatic songs. They often imparted a moral sentiment, with adultery, for example, invariably punished. Although ballads appear to be exclusively a woman’s genre, sung in the home and handed down to the daughters who kept this oral tradition alive, all members of the family would have known them as they became an essential part of daily life, being sung as lullabies and during different stages of the life cycle. True to the Spanish ballads’ original purpose of disseminating news, Sephardi Moroccan creations narrate dramatic events in Morocco and closely resemble the early Hispanic poems from which they derive.

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Flory, Andrew. "The Ballads of Marvin Gaye." Journal of the American Musicological Society 72, no. 2 (2019): 313–61. http://dx.doi.org/10.1525/jams.2019.72.2.313.

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This article focuses on Marvin Gaye's involvement with music related to the “middle of the road” (MOR) market within the American music business between 1961 and 1979. From 1961 to 1966, in addition to his work as a teen idol, Gaye performed regularly in supper clubs, released four albums of standards material, and recorded dozens of other related songs that were eventually shelved. In a fascinating turn, he worked extensively on a series of unreleased tracks between 1967 and 1979, using experimental techniques to revise, reinterpret, and recompose melodies over already completed backing music. Gaye's interest in ballads connects to a different tradition of American music from his soul hits, drawing on the legacy of 1920s crooning, mainstream swing vocalists like Frank Sinatra, and African American forebears such as Nat “King” Cole and Sam Cooke. This article makes a number of new claims about Gaye's career trajectory: that his method of composing with his voice in the studio—building up complex textures from multiple takes and composing lyrics and melody directly to tape—began as early as 1967, well before his better-known experiments for What's Going On in 1970; that the popular, sexuality-charged music of his final decade was an extension of his work with romantic balladry in the 1960s; and that his interest in standards continued much farther into his career than is suggested by his official discography.

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Thořová, Věra. "The Occurrence of the Broadside Ballad Ó, radost má [Oh, My Joy] Among Folk Songs." Acta Musei Nationalis Pragae – Historia litterarum 62, no. 1-2 (2017): 6–18. http://dx.doi.org/10.1515/amnpsc-2017-0002.

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The broadside ballad O, radost ma [Oh, My Joy] was, as far as known, first printed in Kutna Hora in 1808. Later, it began to be sung to an unprecedented number of different tunes, inspired by folk and semi-folk songs, broadside ballads, church and artificial songs. Sometimes, the tune even literally quoted the folk melody. Variants of the song continued to appear in all Czech regions throughout the 20th century. In the Chodsko region, the song has become popular and has been sung as a folk song to this day.

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Mutavdzic, Predrag, and Sasa Djordjevic. "Some types of introductory formulas in Greek klephtic (heroic) epic." Balcanica, no. 44 (2013): 93–111. http://dx.doi.org/10.2298/balc1344093m.

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Certain types of introductory formulas typical of klephtic epic songs are synoptically demonstrated and analyzed. The introduction outlines the historical development of this category of folk songs, based on occasionally opposing views of literary historians and scholars concerned with the study of Greek folklore. The analysis, performed on a selected corpus of Greek klephtic epic songs, reveals basic structural principles that the anonymous folk singer abided by whilst composing these songs.

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Lukin, Michael. "The Ballad in Eastern European Jewish Folklore: Origins, Poetics, Music." Judaic-Slavic Journal, no. 1 (3) (2020): 191–228. http://dx.doi.org/10.31168/2658-3364.2020.1.10.

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Analysis of the poetics and music of Yiddish folk ballads reveals that the Ashkenazi Jews of Eastern Europe did not preserve German songs,widely popular among them up to the beginning of their gradual migration to the east, but instead developed a ballad repertoire of their own.The group of songs, designated as “medieval” by Sophia Magid, the author of a monumental study on the Yiddish ballad, includes both old ballads and those borrowed from the Germans towards the end of the 18th century and later. While the borrowed songs carried a similarity to the German originals as shown in their melodic contours, vocabulary, and plots, the old Yiddish ballads, though generally echoing both Slavic and Western European balladry, differed significantly. The article attempts to identify and characterize this older layer. It apparently first came into being in Central and Eastern Europe in the 15th 16th centuries and continued to develop until the new“urban” ballad emerged in the mid 1800s.The poetics and music of the Yiddish ballad reflect the genre’s hallmark – ballad-singing as a form of communication – which distinguished it from the Yiddish lyric song, performed “for oneself”. The ballad melodies lack melismatic embellishments and dramatic shifts; their tempo is usually moderate; some of them frequently feature the “Ionic minor” rhythmic pattern; many others resemble Klezmer dance music. These features reflect Yiddish ballad aesthetics: music is an ostensibly neutral frame for revealing a narrative that evokes emotions without referring to them directly.Two features of the international ballad canon – readiness to draw material from diverse sources, and a focus on the collective emotional response to key moments of everyday life–stimulated the formation of the indigenous Yiddish tradition. Its character also reflected the remoteness of Eastern Ashkenazi folk culture from rural Slavic folklore, and the lack of a permanent social function of balladsinging in the Ashkenazi tradition.

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Birrell, Anne M. "Mythmaking and Yüeh-Fu: Popular Songs and Ballads of Early Imperial China." Journal of the American Oriental Society 109, no. 2 (April 1989): 223. http://dx.doi.org/10.2307/604427.

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Laoire, Lillis Ó., Hugh Shields, Liam de Noraidh, and Dáithí Ó. hÓgáin. "Narrative Singing in Ireland Lays, Ballads, Come-All-Yes and Other Songs." Comhar 54, no. 6 (1995): 22. http://dx.doi.org/10.2307/25572671.

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Gowans, Linda, and Hugh Shields. "Narrative Singing in Ireland. Lays, Ballads, Come-All-Yes and Other Songs." Jahrbuch für Volksliedforschung 39 (1994): 229. http://dx.doi.org/10.2307/848704.

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Dzuris, Linda. "Using Folk Songs and Ballads in an Interdisciplinary Approach to American History." History Teacher 36, no. 3 (May 2003): 331. http://dx.doi.org/10.2307/1555690.

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Hagedorn, Anselm. "OF FOXES AND VINEYARDS: GREEK PERSPECTIVES ON THE SONG OF SONGS." Vetus Testamentum 53, no. 3 (2003): 337–52. http://dx.doi.org/10.1163/156853303768266335.

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AbstractThe article aims at utilising some further Greek parallels for an interpretation of the Song of Songs. Cant. ii 15 serves as starting point for the enterprise. Next to the fairly well known and often discussed parallels from Sappho and Theocritus, for the .rst time evidence from Greek vases and from the Anthologia Palatina is discussed. Rather than postulating any literary inuences between Greek texts and the Song of Songs we regard the study as an investigation into the (Eastern) Mediterranean cultural milieu to which the biblical and Greek texts belong. However, if Song of Songs can indeed be dated to the Hellenistic period, such inuences and possible dependencies seem not impossible.

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