Singing the Child Ballads
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Ballads of the Southern Mountains and the Escape from Old Europe
B AR B ARA C HING Happily Ever After in the Marketplace: The Ballads of the Southern Mountains and the Escape from Old Europe Between 1882 and 1898, Harvard English Professor Francis J. Child published The English and Scottish Popular Ballads, a five volume col- lection of ballad lyrics that he believed to pre-date the printing press. While ballad collections had been published before, the scope and pur- ported antiquity of Child’s project captured the public imagination; within a decade, folklorists and amateur folk song collectors excitedly reported finding versions of the ballads in the Appalachians. Many enthused about the ‘purity’ of their discoveries – due to the supposed isolation of the British immigrants from the corrupting influences of modernization. When Englishman Cecil Sharp visited the mountains in search of English ballads, he described the people he encountered as “just English peasant folk [who] do not seem to me to have taken on any distinctive American traits” (cited in Whisnant 116). Even during the mid-century folk revival, Kentuckian Jean Thomas, founder of the American Folk Song Festival, wrote in the liner notes to a 1960 Folk- ways album featuring highlights from the festival that at the close of the Elizabethan era, English, Scotch, and Scotch Irish wearied of the tyranny of their kings and spurred by undaunted courage and love of inde- pendence they braved the perils of uncharted seas to seek freedom in a new world. Some tarried in the colonies but the braver, bolder, more venturesome of spirit pressed deep into the Appalachians bringing with them – hope in their hearts, song on their lips – the song their Anglo-Saxon forbears had gathered from the wander- ing minstrels of Shakespeare’s time. -
University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand marking: or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Gender Representations in “The Ballad of Tam Lin”
International Journal of Culture and History, Vol. 3, No. 3, September 2017 Gender Representations in “The Ballad of Tam Lin” Evgeniia Ermakova and Sabina Likhareva etc. It is due to being rooted in the national mentality that Abstract—The present paper addresses a highly relevant gender representations are so fixed in the cultural memory of issue of gender representation in literature that generates much the nation. academic interest as well as practical implications. The material for analysis is the text of the medieval ballad “Tam Lin” as published in the “Child Ballads”. Investigation methodology includes semantic, linguocultural, sociocultural and literary II. MATERIAL AND METHODOLOGY analysis. The findings have been categorized to show how a man As well as myths and fairy-tales, ballads, in spite of and a woman are perceived and portrayed in the English belonging to a plot-driven genre, represent complex culture. The paper would be of interest for scholars and multilevel structure full of implicit cultural senses. The practitioners dealing with gender issues, English and culture studies. material of the present study is comprised by text version A (Robert Burns’ version) of “The Ballad of Tam Lin”, taken Index Terms—Culture, gender, representation, semantics. from “The English and Scottish Popular Ballads, 1882-1898” edited by F. J. Child, otherwise known as “Child Ballads” [4], although the first mention of the plot dates back to as early as I. INTRODUCTION 1549. It can be addressed as a monument of both English and Ballads are poetical narratives frequently having medieval Scottish culture; while the setting, characters and main plot legendary background and performed to music. -
Reliques of Ancient English Poetry: Consisting Of
I Digitized by the Internet Archive in 2011 with funding from National Library of Scotland http://www.archive.org/details/reliquesofancien1767perc (^y^g^*^j£^Q*"-&&&??>?sz^r THE GLEN COLLECTION OF SCOTTISH MUSIC Ruggles- Presented by Lady Dorothea of Scotland, Brise to the National Library Major Lord in memory of her brother, Watch, George Stewart Murray, Black in 1914. killed in action in France mh January 1927. H E L I Q^ U E S O F ANCIENT ENGLISH POETRY. VOL. III. Qii^v //if J R E L I Q^U E S O F ANCIENT ENGLISH POETRY: CONSISTING OF Old Heroic Ballads, Songs, and other Pieces of our earlier Poets, (Chiefly of the Lyric kind) Together with fome few of later Date. THE SECOND EDITION. VOLUME THE THIRD, LONDON: Printed for J. Dodsley in PatH-MsJL M PCCLXVIL * OF SCOTLAND • • - . 1 in CONTENTS OF VOLUME THE THIRtt BOOK THE FIRST. "VSSAT on the ancient Metrical Romances — fag, V — — I I : The Boy and the Mantle 2. The Marriage of Sir Gawaine — -—II 3. King Ryence's challenge — — 25 4. King Arthur's death. A Fragment — 2$ — 5> The Legend of King Arthur — 37 6. -^ Zty//;> *• H^i Donvne — — 42 •— 7. Glafgerion. — **¥ 43 8. Q/</ &> &>£/« ^ Portingale — — 48 9. * Child Waters — — — 54 10. Phillida and Corydon. By Ni*, Breton —? 62 11. Little Mufgrave and Lady Barnard — 63 12. 7£* Ew-bughts Marion. A Scottijh Song — 69 23* The -Knight and Shepherd's Daughter — 7 r%- The Shepherd's Addrefs to his Mufe — 76 1=5. Lord Thomas and Fair Ellinor — — 78 26. -
Barbara Allen
120 Charles Seeger Versions and Variants of the Tunes of "Barbara Allen" As sung in traditional singing styles in the United States and recorded by field collectors who have deposited their discs and tapes in the Archive of American Folk Song in the Library of Congress, Washington, D.C. AFS L 54 Edited by Charles Seeger PROBABLY IT IS safe to say that most English-speaking people in the United States know at least one ballad-tune or a derivative of one. If it is not "The Two Sisters, " it will surely be "When Johnny Comes Marching Home"; or if not "The Derby Ram, " then the old Broadway hit "Oh Didn't He Ramble." If. the title is given or the song sung to them, they will say "Oh yes, I know tllat tune." And probably that tune, more or less as they know it, is to them, the tune of the song. If they hear it sung differently, as may be the case, they are as likely to protest as to ignore or even not notice the difference. Afterward, in their recognition or singing of it, they are as likely to incor porate some of the differences as not to do so. If they do, they are as likely to be aware as to be entirely unconscious of having done ·so. But if they ad mit the difference yet grant that both singings are of "that" tune, they have taken the first step toward the study of the ballad-tune. They have acknow ledged that there are enough resemblances between the two to allow both to be called by the same name. -
Popular British Ballads : Ancient and Modern
11 3 A! LA ' ! I I VICTORIA UNIVERSITY LIBRARY SHELF NUMBER V STUDIA IN / SOURCE: The bequest of the late Sir Joseph Flavelle, 1939. Popular British Ballads BRioky Johnson rcuvsrKAceo BY CVBICt COOKe LONDON w J- M. DENT 5" CO. Aldine House 69 Great Eastern Street E.G. PHILADELPHIA w J. B. LIPPINCOTT COMPANY MDCCCXCIV Dedication Life is all sunshine, dear, If you are here : Loss cannot daunt me, sweet, If we may meet. As you have smiled on all my hours of play, Now take the tribute of my working-day. Aug. 3, 1894. eooccoc PAGE LIST OF ILLUSTRATIONS xxvii THE PREFACE /. Melismata : Musical/ Phansies, Fitting the Court, Cittie, and Countrey Humours. London, 1 6 1 i . THE THREE RAVENS [MelisMtata, No. 20.] This ballad has retained its hold on the country people for many centuries, and is still known in some parts. I have received a version from a gentleman in Lincolnshire, which his father (born Dec. 1793) had heard as a boy from an old labouring man, " who could not read and had learnt it from his " fore-elders." Here the " fallow doe has become " a lady full of woe." See also The Tiua Corbies. II. Wit Restored. 1658. LITTLE MUSGRAVE AND LADY BARNARD . \Wit Restored, reprint Facetix, I. 293.] Percy notices that this ballad was quoted in many old plays viz., Beaumont and Fletcher's Knight of the xi xii -^ Popular British Ballads v. The a Act IV. Burning Pestle, 3 ; Varietie, Comedy, (1649); anc^ Sir William Davenant's The Wits, Act in. Prof. Child also suggests that some stanzas in Beaumont and Fletcher's Bonduca (v. -
English 577.02 Folklore 2: the Traditional Ballad (Tu/Th 9:35AM - 10:55AM; Hopkins Hall 246)
English 577.02 Folklore 2: The Traditional Ballad (Tu/Th 9:35AM - 10:55AM; Hopkins Hall 246) Instructor: Richard F. Green ([email protected]; phone: 292-6065) Office Hours: Wednesday 11:30 - 2:30 (Denney 529) Text: English and Scottish Popular Ballads, ed. F.J. Child, 5 vols (Cambridge, Mass.: 1882- 1898); available online at http://www.bluegrassmessengers.com/the-305-child-ballads.aspx.\ August Thurs 22 Introduction: “What is a Ballad?” Sources Tues 27 Introduction: Ballad Terminology: “The Gypsy Laddie” (Child 200) Thurs 29 “From Sir Eglamour of Artois to Old Bangum” (Child 18) September Tues 3 Movie: The Songcatcher Pt 1 Thurs 5 Movie: The Songcatcher Pt 2 Tues 10 Tragic Ballads Thurs 12 Twa Sisters (Child 10) Tues 17 Lord Thomas and Fair Annet (Child 73) Thurs 19 Romantic Ballads Tues 24 Young Bateman (Child 53) October Tues 1 Fair Annie (Child 62) Thurs 3 Supernatural Ballads Tues 8 Lady Isabel and the Elf Knight (Child 4) Thurs 10 Wife of Usher’s Well (Child 79) Tues 15 Religious Ballads Thurs 17 Cherry Tree Carol (Child 54) Tues 22 Bitter Withy Thurs 24 Historical & Border Ballads Tues 29 Sir Patrick Spens (Child 58) Thurs 31 Mary Hamilton (Child 173) November Tues 5 Outlaw & Pirate Ballads Thurs 7 Geordie (Child 209) Tues 12 Henry Martin (Child 250) Thurs 14 Humorous Ballads Tues 19 Our Goodman (Child 274) Thurs 21 The Farmer’s Curst Wife (Child 278) S6, S7, S8, S9, S23, S24) Tues 24 American Ballads Thurs 26 Stagolee, Jesse James, John Hardy Tues 28 Thanksgiving (PAPERS DUE) Jones, Omie Wise, Pretty Polly, &c. -
Singing the Child Ballads Leave It to Our Readers to Challenge, If They Want To
one of the canon, we‟ll take your word for it and Singing the Child Ballads leave it to our readers to challenge, if they want to. So to start with we invite you to send us your Rosaleen writes: favourite singing versions of the first eight Child ballads. With luck we‟ll have some of your Someone asked me recently which Child ballads I submissions to print in the next issue, along with our sing and I couldn‟t make a very satisfactory reply at second batch from my repertoire. We do hope that the time. But that started me wondering, so I‟ve been you will join me in this “quest for the ballad” by checking them out and I found quite a few in my sharing your versions of these well-loved songs. Here repertoire. Some are versions that stay close to one of are a few notes on my versions: Child‟s texts, others are composites created by revival singers or myself. Some I have known since 1. Riddles Wisely Expounded. My text is a composite my teens or early twenties; others I have only from Child‟s versions A and B. I‟ve known the tune recently learned, and still others I‟ve picked up since at least the early 1960s but I previously used it somewhere along the way, most often from for “The Cruel Mother” (I now sing a different recordings or from a handful of well-thumbed books version of that ballad). I picked up the melody in my possession. aurally, but it is almost the same as that first printed in d‟Urfey‟s Pills to Purge Melancholy (1719-20). -
English Folk Ballads Collected By
Journal of Vasyl Stefanyk Precarpathian National University English Folk Ballads Collected by Cecil James Sharp < 79 http://jpnu.pu.if.ua Vol. 1, No. 2,3 (2014), 79-85 UDC 821.111:82-144(292.77) doi: 10.15330/jpnu.1.2,3.79-85 ENGLISH FOLK BALLADS COLLECTED BY CECIL JAMES SHARP IN THE SOUTHERN APPALACHIANS: GENESIS, TRANSFORMATION AND UKRAINIAN PARALLELS OKSANA KARBASHEVSKA Abstract. The purpose of this research, presented at the Conference sectional meeting, is to trace peculiarities of transformation of British folk medieval ballads, which were brought to the Southern 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 texts on the levels of motifs, dramatis personae, composition, style and artistic means, as well as to outline relevant Ukrainian parallels. The analysis of such ballads, plot types and epic songs was carried out: 1) British № 10: “The Twa Sisters” (21 variants); American “The Two Sisters”(5 variants) and Ukrainian plot type I – C-5: “the elder sister drowns the younger one because of envy and 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 of lonely death of a Cossack warrior on the steppe (4). In our study British traditional ballads are classified according to the grouping worked out by the American scholar Francis Child (305 numbers), Ukrainian folk ballads – the plot-thematic catalogue developed by the Ukrainian folklorist Оleksiy Dey (here 288 plots are divided into 3 spheres, cycles and plot types). -
The Ballad/Alan Bold Methuen & Co
In the same series Tragedy Clifford Leech Romanticism Lilian R Furst Aestheticism R. V. Johnson The Conceit K. K Ruthven The Ballad/Alan Bold The Absurd Arnold P. Hinchliffe Fancy and Imagination R. L. Brett Satire Arthur Pollard Metre, Rhyme and Free Verse G. S. Fraser Realism Damian Grant The Romance Gillian Beer Drama and the Dramatic S W. Dawson Plot Elizabeth Dipple Irony D. C Muecke Allegory John MacQueen Pastoral P. V. Marinelli Symbolism Charles Chadwick The Epic Paul Merchant Naturalism Lilian R. Furst and Peter N. Skrine Rhetoric Peter Dixon Primitivism Michael Bell Comedy Moelwyn Merchant Burlesque John D- Jump Dada and Surrealism C. W. E. Bigsby The Grotesque Philip Thomson Metaphor Terence Hawkes The Sonnet John Fuller Classicism Dominique Secretan Melodrama James Smith Expressionism R. S. Furness The Ode John D. Jump Myth R K. Ruthven Modernism Peter Faulkner The Picaresque Harry Sieber Biography Alan Shelston Dramatic Monologue Alan Sinfield Modern Verse Drama Arnold P- Hinchliffe The Short Story Ian Reid The Stanza Ernst Haublein Farce Jessica Milner Davis Comedy of Manners David L. Hirst Methuen & Co Ltd 19-+9 xaverslty. Librasü Style of the ballads 21 is the result not of a literary progression of innovators and their acolytes but of the evolution of a form that could be men- 2 tally absorbed by practitioners of an oral idiom made for the memory. To survive, the ballad had to have a repertoire of mnemonic devices. Ballad singers knew not one but a whole Style of the ballads host of ballads (Mrs Brown of Falkland knew thirty-three separate ballads). -
Frequency List
Ranking Frequency List 3501 1) 23903 (4.19%) 27) 3221 (0.564%) 53) 1589 (0.278%) 78) 1054 (0.185%) 103) 694 (0.122%) the is out we some 2) 20303 (3.56%) 28) 3201 (0.561%) 54) 1582 (0.277%) 79) 1046 (0.183%) 104) 689 (0.121%) And as down Nor mother 3) 12989 (2.27%) 29) 3008 (0.527%) 55) 1574 (0.276%) 80) 1019 (0.178%) 105) 685 (0.120%) to him What no here 4) 11511 (2.02%) 30) 2996 (0.525%) 56) 1560 (0.273%) 81) 1014 (0.178%) 106) 679 (0.119%) a will see bonny nae 5) 10028 (1.76%) 31) 2492 (0.436%) 57) 1545 (0.271%) 82) 1009 (0.177%) 107) 665 (0.116%) I Then If father take 6) 9557 (1.67%) 32) 2265 (0.397%) 58) 1509 (0.264%) 83) 989 (0.173%) 108) 662 (0.116%) he at man thy gae 7) 8855 (1.55%) 33) 2234 (0.391%) my with 59) 1482 (0.260%) 84) 984 (0.172%) 109) 660 (0.116%) I’ll never like 8) 6968 (1.22%) 34) 2224 (0.389%) in there 60) 1468 (0.257%) 85) 956 (0.167%) 110) 657 (0.115%) them are from 9) 6746 (1.18%) 35) 2215 (0.388%) green O lady 61) 1439 (0.252%) 86) 937 (0.164%) has men 111) 649 (0.114%) 10) 6260 (1.10%) 36) 2178 (0.381%) She’s her this 62) 1436 (0.251%) 87) 933 (0.163%) fair He’s 112) 646 (0.113%) 11) 6071 (1.06%) 37) 2112 (0.370%) yon that come 63) 1431 (0.251%) 88) 924 (0.162%) were dear 113) 644 (0.113%) 12) 5893 (1.03%) 38) 2092 (0.366%) been me by 64) 1374 (0.241%) 89) 912 (0.160%) now well 114) 623 (0.109%) 13) 5642 (0.988%) 39) 2011 (0.352%) It’s his wi 65) 1330 (0.233%) 90) 884 (0.155%) shall one 115) 622 (0.109%) 14) 5640 (0.988%) 40) 1896 (0.332%) get for all 66) 1326 (0.232%) 91) 869 (0.152%) gold so hand made 15) -
Kentucky Folk-Songs Author(S): Hubert G
Kentucky Folk-Songs Author(s): Hubert G. Shearin Source: The Modern Language Review, Vol. 6, No. 4 (Oct., 1911), pp. 513-517 Published by: Modern Humanities Research Association Stable URL: http://www.jstor.org/stable/3713286 Accessed: 19-06-2016 20:25 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Modern Humanities Research Association is collaborating with JSTOR to digitize, preserve and extend access to The Modern Language Review This content downloaded from 128.104.46.206 on Sun, 19 Jun 2016 20:25:00 UTC All use subject to http://about.jstor.org/terms Miscellaneous Notes 513 reference to the red seal of a bond to rehabilitate his old phrase. When two distinct things are appropriate in one setting, and inappropriate in another, nobody can doubt seriously what has happened. Narcissus by a fountain side grows by nature; when we find him stuck into a glass with a handful of buttercups we do not suppose that he grew there. May I add that after repeated readings of the play spread over many years I feel more and more convinced that the whole of it is due to one hand alone ? Its author, like many young poets, could write prettily enough of love and made a brave show in the first two acts; when he came to deal with battles of Cressy and the like he failed lamentably.