Relevant bibliographies by topics / Rajasthani ballads and songs

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Academic literature on the topic 'Rajasthani ballads and songs'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Rajasthani ballads and songs"

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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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Jain, Nisha. "RAJASTHANI FOLK MUSIC IMPACT ON SOCIETY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3464.

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Rajasthan has always been a subject of curiosity for tourists, musicians, craftspeople etc. due to the originality of its civilization and culture in the states of India. The culture of Rajasthan is unique at all times for food, clothing, dance, music and folk songs. The treasury of regional living, food and folk songs is hidden in the cultural culture flourishing in Rajasthan. The rituals here are the center of attraction for women living in the way of living, dress, bright colors, Teej festivals, fairs, festivals, and the men and sarongs that are tied on the head. Rajasthani folk music is sung and played on all special occasions. The dance dramas in Rajasthani songs in the same colorful costumes captivate the minds of the audience. भारत के प्रदेषों में राजस्थान अपनी सभ्यता एवं संस्कृति की मौलिकता के कारण सर्वदा से पर्यटक, संगीतकार, षिल्पकार आदि के लिए कौतूहल का विषय रहा है। राजस्थान की संस्कृति खान-पान, वेषभूषा, नृत्य, संगीत एवं लोक गीतों के लिए प्रत्येक समय में विषिष्ट बनी हुई है। राजस्थान में पल्लवित लोक संस्कृति में क्षेत्रीय रहन-सहन, खान-पान व लोकगीतों का खजाना छिपा हुआ है। यहाँ के रीति-रिवाज रहन-सहन, वेषभूषा, चटकीले रंग, तीज त्यौहार, मेले, पर्व में पहनावा तथा सिर पर साफे बंधे हुए पुरूष एवं घेरदार लहँगे में महिला षहरवासियों के आकर्षण का केन्द्र होती है। राजस्थानी लोक संगीत सभी विषिष्ट अवसरों पर गाए एवं बजाये जाते हैं। राजस्थानी गीतों पर वहीं की रंगीन वेषभूषा में नृत्य नाटिकाएँ दर्षकों का मन मोह लेती हैं।
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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 "Rajasthani 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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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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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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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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Clavero, Dolores. "Génesis y evolución de los temas épicos nacionales del romancero viejo." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26974.

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Although controversial, the theory that the Romancero (ballad genre) resulted from the disintegration of cantares de gesta in the late Middle Ages is generally accepted in current Spanish literary scholarship. The romances (ballads) based on epic themes of Castilian history occupy a key position in this theory, since they are considered to be the oldest and the closest to the epics from which the Romancero originated. In an attempt to justify or to disprove this claim, the present study investigates the thematic contents of the romances viejos based on Castilian subjects. Utilising the edition of old romances gathered by Ferdinand Wolf and Conrad Hofmann in their Primavera y flor de romances, these romances are analysed, and compared on the one hand with the extant epic poems, and on the other with the chronicle texts in which poems no longer extant were prosified. The romances chosen for analysis are from the cycles of the following heroes: Bernardo del Carpio (Chapter I), Fernán González (Chapter II), Infantes de Lara (Chapter III) and El Cid (Chapters IV-VII). The cycle of El Cid is divided into the separate categories of Mocedades de Rodrigo (Chapter IV), the partition of the kingdoms and resulting fratricidal wars (Chapter V), the siege of Zamora (Chapter VI), and the conquest of Valencia and punishment of the Infantes de Carridn (Chapter VII). The evidence acquired by this reanalysis of the romances and their possible sources allows the following conclusions: 1. There is a diachronic continuity in the elaboration of epic texts, as seen in the romances of Fernán González, the Infantes de Lara and the Cid series. Some of these reelaborations were in all probability in prose while others were in verse. In the latter case, a tendency is demonstrated toward the restriction of the narrative to a few popular motifs, and in particular that of the confrontation between king and vassal. The authors of the romances took up this confrontation motif in creating some of the most popular ballads of the genre. 2. There is a diachronic continuity in the transmission of the original, unelaborated epic material, both in oral and in written form. This conservatism is seen in the romances of Bernardo del Carpio. and in those dealing with the partition of the kingdoms and the siege of Zamora. 3. There was clearly erudite participation of chroniclers and others in the reworking of epic material, as seen in the romances of the Infantes de Lara and the Cid series. Some of this reworking involved the favouring of certain epic poems which best reflected the chroniclers' historiographical points of view, but in other cases these unknown authors even created new episodes or reinterpreted ambiguous points to give a new turn to the old narratives. 4. In the process of transmission of epic narratives, some prose texts were written by adapting chronicle material to make it more appealing to a popular audience. The present investigation has found evidence of the creation of many old epic romances by resort to these popular adaptations. Thus, chronicle sources appear to be of greater importance in the origin and development of the romances viejos, and in the transmission of epic themes, than current theory allows.
Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
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Madding, Carol Ann. "Singing for Blaine and for Logan! Republican Songs as Campaign Literature in the 1884 Presidential Race." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2710/.

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During the presidential contest of 1884, Republicans used singing as a campaign tactic at rallies, meetings, and parades. Their songs may be divided into several categories, such as rally songs, songs of praise for the party and its candidate, "bloody shirt" songs, mudslinging songs, and issue-based songs. Songs provide a perspective on the overall tenor of the campaign, while a lack of songs on certain topics, such as temperance, reflects the party's reluctance to alienate voters by taking a strong stand on controversial issues. Although the campaign has often been called one of the dirtiest in American history, this negativity is not reflected in the majority of the songs.
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Ganev, Robin. "Popular ballads and rural identity in Britain, 1700-1830 /." 2004. http://wwwlib.umi.com/cr/yorku/fullcit?pNQ99170.

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Thesis (Ph.D.)--York University, 2004. Graduate Programme in History.
Typescript. Includes bibliographical references (leaves 312-337). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ99170
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Books on the topic "Rajasthani ballads and songs"

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

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2

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

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Rājasthānī, Ikarāma. Gītāṃ rī ramajhola: Rājasthāna ke rasīle gītoṃ kā anūṭhā saṅgraha. Jayapura: Saṅghī Prakāśana, 1987.

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Varmā, Gajānana. Haḷadī ko raṅga suraṅga: Pailībāra Rājasthānī gīta-sāhitya rī nuṃīṃ dhārā ara lokasailī meṃ likhyoṛai vivāha-saṃskāra-gītāṃ rau anūṭhī saṅgraha. Ratnagaṛha, Rājasthāna: Akshaya Prakāśana, 1987.

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Svarṇarekhā. Svaroṃ ke svastika. Cūrū, Rājasthāna: Ādarśa Sāhitya Saṅgha, 1993.

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Svarṇarekhā. Svaroṃ ke svastika. Cūrū, Rājasthāna: Ādarśa Sāhitya Saṅgha, 1993.

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Maṇḍelā, Kailāśa. Man̐ḍāṇa: Rājasthānī gīta. Bhīlavāṛā, Rāja: Yatīndra Sāhitya Sadana, 2013.

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

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Rājasthānī lokagītoṃ kī saṃracanā. Jayapura: Viveka Pabliśiṅga Hāusa, 2000.

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

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Book chapters on the topic "Rajasthani ballads and songs"

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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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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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"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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"Burial Songs." In Popular Songs and Ballads of Han China, 75–81. University of Hawaii Press, 2019. http://dx.doi.org/10.2307/j.ctv9zcm2j.12.

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"Love Songs." In Popular Songs and Ballads of Han China, 133–51. University of Hawaii Press, 2019. http://dx.doi.org/10.2307/j.ctv9zcm2j.17.

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