Academic literature on the topic 'French Revolutionary ballads and songs'
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Journal articles on the topic "French Revolutionary ballads and songs"
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Youens, Susan. "Maskenfreiheit and Schumann's Napoleon-Ballad." Journal of Musicology 22, no. 1 (2005): 5–46. http://dx.doi.org/10.1525/jm.2005.22.1.5.
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One of the best known compositions from Robert Schumann's "song year" of 1840 is the ballad "Die beiden Grenadiere," op. 49, no. 1, to a poem by Heinrich Heine (1797-1856). Any work about Napoleon, in any genre, was inevitably politically charged, both at the time Heine wrote his poem (perhaps in 1821, after hearing the news of the former emperor's death on 5 May 1821) and the date of its most famous musical setting (at the beginning of the decade when Germany was edging towards revolutionary outbreak). What impelled this 21st-century investigation of the song was curiosity about its confusing initial gesture in the piano, a tonic six-four chord as an anacrusis, leading to unharmonized tonic pitches on the downbeat of measure 1. Speculation about Schumann's intention led to an investigation of both men's attitudes towards Napoleon, especially the aftermath of his downfall. That Heine venerated Napoleon (who emancipated the Jews) cannot be doubted, but Heine, given to paradox and contradiction, was no hagiographer. His poem is as much literary as it is political, with its borrowings from Des Knaben Wunderhorn and Herder's translation of the Scottish ballad "Edward." The First Empire, like all empires, is not merely historical fact but a confabulation of poetic legends. Heine's underlying concern, I would argue, was not Bonapartism per se but rising German nationalism of the sort he found ominous and that Schumann, to some as yet ill-defined degree, supported. But composer and poet both associated Napoleon with the ideals of the French Revolution in the days before it and the emperor succumbed to what is darkest in human nature. In my opinion, Schumann understood Heine's delineation of nationalistic fanaticism and found apt musical gestures for that understanding. Here, I trace the composer's lifelong sense of identification with Napoleon and the compositional decisions that tell of a political point of view in "Die beiden Grenadiere."
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Evans, Beverly J. "The life and afterlife of French WWI songs: National identity then and now." French Cultural Studies 28, no. 2 (April 17, 2017): 141–58. http://dx.doi.org/10.1177/0957155817692497.
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Wartime music provides clear testimonial to the importance of melody and text in times of conflict. In the case of the Great War, which introduced the world to weapons of nightmarish capability, carefree popular ballads often stood shoulder to shoulder with sombre lyrics that called attention to the tragedy unfolding in the trenches. The first part of this article surveys the themes of French songs of the WWI era itself, such as ‘Ah! C’est la guerre’, ‘La Madelon’ and ‘La Chanson de Craonne’. The second concentrates on ‘La Madelon’, which underwent numerous transformations in response to events during the interwar years and World War II. The final section explores why the Great War took hold as a focus of French popular music in the late 1950s and continues to assert its presence to this day. A surprising number of contemporary artists have recorded World War I-themed songs, such as ‘La Guerre de 14–18’, ‘Jaurès’, ‘Verdun’, ‘Le No Man’s Land’, ‘Tranchée 1914’ and ‘La Chanson de Craonne’. What cultural phenomena might account for this in addition to the urge to memorialise? Examination of the internal and external forces that continue to fuel the ‘Grand débat sur l’identité nationale’ makes clear why songs of the Great War appeal to a citizenry determined to preserve the values of ‘Frenchness’ in the face of evolving demographics and increasing ‘Europeanisation’.
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Drozda, Martin. "Prusko-francouzská válka v kramářských tiscích." Acta Musei Nationalis Pragae – Historia litterarum 66, no. 3-4 (2021): 72–79. http://dx.doi.org/10.37520/amnpsc.2021.018.
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The study deals with the Franco-Prussian War in chapbooks. This conflict provided the last major stimulus for this medium, which gradually disappeared in the second half of the 19th century. Chapbooks on the subject of the Franco-Prussian war comprised mostly broadside ballads, but prayers and small prose prints were created as well. The importance of satirical songs significantly increased at that time. The article studies the interpretation of the war conflict in chapbooks, especially the glorification of French commanders and the authors’ hatred for Prussian soldiers, which stemmed from the defeat of the Austrian army in 1866. Attention is also paid to reflections on the main figures in the conflict (Napoleon III, Otto von Bismarck). The paper shows the genre diversity of chapbooks in the second half of the 19th century, at a time when they were gradually disappearing.
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Lebedinski, Ester. "The travels of a tune: Purcell’s ‘If love’s a sweet passion’ and the cultural translation of 17th-century English music." Early Music 48, no. 1 (February 2020): 75–90. http://dx.doi.org/10.1093/em/caaa003.
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Abstract The travels of a tune: Purcell’s ‘If love’s a sweet passion’ and the cultural translation of 17th-century English music This article discusses Henry Purcell’s theatre song ‘If love’s a sweet passion’ (from The Fairy Queen, 1692) and its journey into various contexts in England and abroad. The article analyses the song’s appearance in printed songbooks, broadside ballads and single-sheet engravings, and in the Dutch manuscript songbook Finspång 9096:7 (now in Norrköping, Sweden), to show how the song was adapted to various contexts and conventions. The appearance of ‘If love’s a sweet passion’ in Finspång 9096:7 further suggests that there was greater reciprocity in the exchanges between England and continental Europe than hitherto thought. I nuance this claim by arguing that such exchanges were dependent on translation and mediation by musicians such as John Abell (1653–after 1716) or translators such as Abel Boyer (?1667–1729). Boyer used ‘If love’s a sweet passion’ in his Compleat French-Master (1694) and his French lyrics appear in Finspång 9096:7. The article shows the variety of uses and adaptations of ‘If love’s a sweet passion’ in English and French-language contexts. This both challenges notions of ‘elite’ and ‘popular’ music as entirely separate, and invites scholars and performers to imagine Purcell’s theatre songs performed and consumed in new ways.
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Rodgers, Stephen. "Miniatures of a Monumentalist: Berlioz's Romances, 1842–1850." Nineteenth-Century Music Review 10, no. 1 (June 2013): 119–49. http://dx.doi.org/10.1017/s1479409813000062.
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This article reassesses Berlioz's complex relationship to the French romance. Berlioz is often regarded as a musical revolutionary who made his mark writing massive, path-breaking symphonies – a far cry from the popular songs that became a staple of the bourgeois woman's salon. Yet he wrote romances throughout his life. How are we to understand these songs in the context of his overall output? What did the genre mean to him? How do his romances relate to the larger works on which his reputation rests? I explore these questions in relation to the romances he composed or revised between 1842 and 1850, a period often regarded as a fallow one for Berlioz but one that nonetheless saw a surge of songwriting activity. Drawing upon recent theories about the autobiographical construction of Berlioz's music, and considering when these songs were written or revised, to whom they were dedicated, what images were associated with them and how their texts relate to the events of Berlioz's biography, I argue that their conventionality belies a deeply personal resonance and a musical ingenuity uncommon to the romance genre. As a whole, these songs show Berlioz returning to an intimate and direct style during an especially introspective and nostalgic period of his life. Even more, they suggest that his urge toward self-reflection was not confined to the programmatic and the large-scale, and that his miniatures and monuments have more in common than one might think.
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Lindqvist, Ursula. "Roy Andersson’s Cinematic Poetry and the Spectre of César Vallejo." Scandinavian-Canadian Studies 19 (December 1, 2010): 200–229. http://dx.doi.org/10.29173/scancan57.
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ABSTRACT: Sånger från andra våningen [Songs from the Second Floor] was Roy Andersson’s first feature film in 25 years when it won the Special Jury Prize at the Cannes Film Festival in 2000. It exemplifies the maturation of a distinctive filmmaking style Andersson developed in two and half decades of making shorts and advertising films and testifies to his decades-long engagement with Peruvian modernist César Vallejo’s poetry. Andersson is known for his contentious relationship with Sweden’s film establishment, and his critiques of Nordic contemporary filmmakers parallel Vallejo’s similarly pointed critiques, in 1930s Paris, of the so-called “revolutionary” agenda of French Surrealists. The formal correspondences between Vallejo’s modernist poetry and Andersson’s “trivialist” cinema are likewise striking. In this essay, I argue that the spectre of Vallejo has so informed the development of Andersson’s distinctive vision and style as a filmmaker that an investigation of the interart correspondences between this unlikely pairing of avantgardists is overdue.
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Nizhnik, Anna. "Literary rhythm of the cycle by Isaac Babel “Red Cavalry”." Litera, no. 12 (December 2020): 10–17. http://dx.doi.org/10.25136/2409-8698.2020.12.34407.
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This article examines the cycle by Isaac Babel “Red Cavalry in the context of literary trends of the 1920s. I. Babel avoided various literary organizations and loud manifestos; therefore, his role within the post-revolutionary literary system remains somewhat isolated: he had a reputation of a realist writer (although with some reservations) mostly due to specifically historical backstory of his military cycle. In this regard, his literary style is rarely viewed as a phenomenon of modernist literature – metareflective, intertextual, centered on the experiments with literary form. However, the works of I. Babel can be viewed as a characteristic to modernism phenomenon of “synthesis of arts” – not only painting and cinematography, but music as well. His musicality is traced both on the semantic level and particular recurring images, an on the level of rhythmic structure of the text. The article demonstrates “pretexts” (genre and stylistic models) that underlie the cycle “Red Cavalry”: folk songs, revolutionary marches, poetry of French symbolism (namely A. Rimbaud), which targeted to substitute versification with a rhythmic prose. Thus, some elements of I. Babel's prose are interpreted as variations of a free verse, which corresponds to the draft genre definitions given by the author to his stories, as well as to his writing style testified by some of his contemporaries.
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Amit, Mr. "Romanticism: Characteristics, Themes and Poets." SMART MOVES JOURNAL IJELLH 9, no. 5 (May 17, 2021): 66–74. http://dx.doi.org/10.24113/ijellh.v9i5.11034.
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This paper examines about Romanticism or Romantic era, themes and some famous writers, poets and poems of romantic era. Romanticism is one of the repetitive topics that are connected to either creative mind, vision, motivation, instinct, or independence.
The subject frequently condemns the past, worries upon reasonableness, disconnection of the essayist and pays tribute to nature. Gone before by Enlightenment, Romanticism brought crisp verse as well as extraordinary books in English Literature. Begun from England and spread all through Europe including the United States, the Romantic development incorporates well known journalists, for example, William Wordsworth, Coleridge, Keats, Lord Byron, Shelley, Chatterton, and Hawthorne. ‘Romantic’ has been adjusted from the French word romaunt that implies a story of Chivalry. After two German scholars Schlegel siblings utilized this word for verse, it changed into a development like an epidemic and spread all through Europe.
Romanticism in English writing started during the 1790s with the distribution of the Lyrical Ballads of William Wordsworth and Samuel Taylor Coleridge. Wordsworth's "Preface" to the subsequent version (1800) of Lyrical Ballads, in which he portrayed verse as the spontaneous overflow of powerful feelings", turned into the statement of the English Romantic development in verse.
The first phase of the Romantic movement in Germany was set apart by advancements in both substance and artistic style and by a distraction with the mysterious, the intuitive and the heavenly. An abundance of abilities, including Friedrich Hölderlin, the early Johann Wolfgang von Goethe, Jean Paul, Novalis, Ludwig Tieck, A.W. what's more, Friedrich Schlegel, Wilhelm Heinrich Wackenroder, and Friedrich Schelling, have a place with this first phase.
The second phase of Romanticism, involving the period from around 1805 to the 1830s, was set apart by a reviving of social patriotism and another regard for national roots, as bore witness to by the accumulation and impersonation of local old stories, people songs and verse, society move and music, and even recently disregarded medieval and Renaissance works. The resuscitated recorded appreciation was converted into creative composition by Sir Walter Scott, who is frequently considered to have imagined the verifiable novel. At about this equivalent time English Romantic verse had arrived at its peak in progress of John Keats, Lord Byron, and Percy Bysshe Shelley.
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Porfirieva, A. "The Middle of the Distance." Versus 2, no. 6 (September 16, 2023): 6–19. http://dx.doi.org/10.58186/2782-3660-2022-2-6-6-19.
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In the perception of Richard Wagner's Lohengrin and in scholarly discourse on it, the legend associated with the tales of the Knights of the Grail prevails. But the romantic element in opera had a political and even revolutionary meaning for Wagner. The historical layer of the operatic action in Lohengrin draws on the Deeds of the Saxons by Widukind of Corvey and recounts the birth of the Yrst Germanic parish, united by Henry the Fowler, the “Father of the Fatherland” — and the Yrst Germanic emperor. The Romantic generation of German revolutionaries — Wagner's peers and associates — excavated the ancient history of Germany and German mythology from old manuscripts and established it in the minds of the aedgling nation. Lohengrin was the Yrst German opera to give artistic life to the revolutionary and patriotic ideas of the German Renaissance. The peculiarity of the opera lies in the interplay of the original Wagnerian principles of composition with operatic forms of Italian origin. The composer would later cite Johann Sebastian Bach as the ideal example of the “Germanic” in his ludicrous French wig and his fundamentally Italian style. By combining the rhetorical principle directly derived from Bach's music with a variety of German melodic sources from chorales to Romantic songs, Wagner had fully mastered his musical language. This article examines the compositional symmetries, supports, and arches that build the integral structure, new duet forms, and other Yndings that had a continuation in operas aber Lohengrin, as well as the main feature of this work: the combination of lyricism and tragedy, history and myth, which opens the way to countless interpretations of meaning on the modern opera stage.
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Wang, Shizhe. "Adolphe Nourrit is singer of the July Revolution." PHILHARMONICA. International Music Journal, no. 5 (May 2023): 21–33. http://dx.doi.org/10.7256/2453-613x.2023.5.69333.
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The subject of the article is the socio-cultural and religious-philosophical views of the greatest French tenor of the XIX century, Adolphe Nurrit (1802-1839). His stage work was carried out at the Paris Opéra, and during the July Revolution of 1830 he performed revolutionary songs, supporting and inspiring compatriots to fight for freedom. Considering Nurrit's creative portrait and revolutionary agitator activity in the 1830s, the author focuses on his commitment to the ideas of sentimonism, in particular, on the desire to deepen the religious and moral role of theater in society. The singer's spiritual quest can be characterized by relying on various historical evidence – doctrinal positions of the sentimonists, comments from eyewitnesses, articles in newspapers, letters from Nurrit himself. The methodological strategy of the research is based on socio-historical and socio-cultural approaches. A large array of historical sources attracted by the author consists of literature in foreign languages, work with which involves linguistic research methods. The combination of different approaches and reliance on reliable historical sources makes it possible to achieve scientific novelty: Nurrit was first described as a singer of the Revolution, which left a deep imprint on his artistic appearance, religious and moral views and plans for practical implementation. The presented portrait of Nurri as an adept of the sentimonistic idea of the sacred mission of the artist and the religious and educational function of the theater is new for musicology. As a result of the undertaken research, Nurrit's deep involvement in the socio-cultural life of France becomes obvious, and his artistry stands out as a special artistic phenomenon due to the unprecedented emotional impact of the artist on his contemporaries. The materials, observations and conclusions presented in the article will find application in historical musicology and will be useful to modern opera performers.
Dissertations / Theses on the topic "French Revolutionary 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.
Full textBooks on the topic "French Revolutionary ballads and songs"
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Chamisso, Adelbert von. Les chansons de la Révolution Française du fonds Chamisso =: Die Lieder der Französischen Revolution aus dem Nachlass Chamisso. Berlin: Deutsche Staatsbibliothek, 1990.
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Chantal, Georgel, Delbart Robert, and Ligue des droits de l'homme (Paris, France), eds. Marseillaise, Marseillaises: Anthologie des différentes adaptations depuis 1792. Paris: Le Cherche midi, 1992.
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Seán, Ó. Brádaigh, and O'Higgins Brian 1882-1963, eds. Songs of 1798: Bliain na bhFrancach = the year of the French. 3rd ed. Dublin: Irish Freedom Press, 1997.
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Donat, Christine. Zwischen Reform und Revolte: Politisches und soziales Chanson während der Julimonarchie und der Zweiten Republik. Bonn: Romanistischer Verlag, 1994.
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Brécy, Robert. Autour de la Muse rouge: Groupe de poètes et chansonniers révolutionnaires, 1901-1939. [Saint-Cyr-sur-Loire, France]: Editions Ch. Pirot, 1991.
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Dreĭden, Simon. Pesnʹ pesneĭ revoli︠u︡t︠s︡ii: Stranit︠s︡y istorii "Internat︠s︡ionala". Moskva: "Sovetskiĭ kompozitor", 1988.
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Lorca, Federico García. Songs and ballads. Montreal: Guernica, 1992.
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Robin, Skelton, ed. Songs and ballads. Toronto: Guernica, 1997.
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Samākhya, Aruṇōdaya Sāhitī Sāṃskr̥tika. Telaṅgāṇa, Dhūmdhāṃ: Udyama pāṭalu. Āndhrapradēś: Aruṇōdaya Sāṃskr̥tika Samākhaya, 2010.
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Yan, Luyin, and Guanghua Tang. Zhong yang Su qu hong se ge qu ji. Nanjing Shi: Nanjing da xue chu ban she, 2015.
Find full textBook chapters on the topic "French Revolutionary ballads and songs"
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Morgan, Alison. "‘Rise Britons, rise now from your slumber’: the revolutionary call to arms." In Ballads and songs of Peterloo, 40–64. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784993122.003.0002.
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This section begins by briefly examining the historical provenance of the poetic trope of awakening and its significance within radical culture prior to Peterloo, as well as those poems and songs written in the immediate aftermath of the massacre, thereby highlighting the intertextual dialogue between the poems which is illustrated not only by an ideological unity but also by the commonality of motifs, forms, styles and even tunes. Shelley’s Masque of Anarchy provides a well-known example of this trope and is used in the introduction to this section as an illustration of how radical poems and songs in the Romantic period utilised revolutionary discourse dating back to the sixteenth century. The section comprises ten poems which are exhortatory ballads or apostrophes. At times of national crisis, poets have called on their readers to ‘arise’ and awaken’, often drawing on those past events to prove that, if England could get rid of two kings, it could certainly get rid of a third.
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Morgan, Alison. "‘Rise Britons, rise now from your slumber’: the revolutionary call to arms." In Ballads and songs of Peterloo. Manchester University Press, 2018. http://dx.doi.org/10.7765/9781526132475.00007.
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Morgan, Alison. "‘Ye English warriors’: radical nationalism and the true patriot." In Ballads and songs of Peterloo, 65–92. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784993122.003.0003.
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Radicalism and nationalism would appear to be unlikely bedfellows, given that they tend to be placed on opposite ends of the political spectrum; yet this section demonstrates how many of the radical poems and songs written after Peterloo are underpinned by a radical English nationalism with poets making clear distinction between the un-English characteristics of a tyrannical state and monarchy and the true English patriot fighting for lost freedoms. Although the ideology of nationalism emerged in the revolutionary fervour of the late eighteenth century, this section establishes the nature of English radical nationalism and how the championing of English national identity has resonances with the republicanism of the English Revolution and late seventeenth century, the heroes and martyrs of which, particularly John Hampden, Algernon Sidney and William Russell, were a regular presence in the radical press. Key to English national identity is the myth of the Norman yoke and the yearning for the restoration of lost rights, references to which permeate the eleven poems in this section.
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DiSavino, Elizabeth. "7. Introduction by Elizabeth DiSavino." In Katherine Jackson French, 139–40. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813178523.003.0008.
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By at least one account, Katherine Jackson had, by 1909, accumulated over sixty ballads (five more than were included in Campbell and Sharp’s 1917 English Folk Songs from the Southern Appalachians) and set about compiling them in a scholarly manner. Sadly, a large number of those ballads were lost over the years, and fewer than half remain today. I have included everything that remains of the collection, a total of twenty-eight ballads (twenty-five of British origin and three native) in forty-three variants, one thirteenth-century song, and one Appalachian tune. Four versions of Jackson’s ballad collection can be found in the Berea College Special Collections and Archives, and almost all the ballads printed in this book can be found in one of those four versions. A few had migrated to other collections, including those of Gladys Jameson, James Watt Raine, and E. C. Perrow. I have noted the collection or collections from which each song comes, and I have edited Jackson’s introduction by weaving together parts from several versions of her manuscript....
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Hunnekuhl, Philipp. "Introduction." In Henry Crabb Robinson, 1–18. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621785.003.0001.
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The introduction elaborates the key claim of the book, namely that Robinson was the most pioneering comparative critic in England during the early Romantic period. He developed a revolutionary theory of literature’s cross-cultural ethical relevance from his unrivalled understanding of Kantian and post-Kantian thought, the Anglo-French philosophical tradition, as well as his broad reading across English, German, and French literature, primarily. Robinson’s prescient 1802 critique of Wordsworth and Coleridge’s Lyrical Ballads as generating non-didactic moral discourse emerges as the exemplary manifestation of his critical approach, according to which a poet’s aspiration to artistic disinterestedness, though never to be fulfilled entirely, may function as a catalyst for moral disinterestedness. The introduction further places this claim in its historical and present-day contexts – from Hazlitt, Schiller, and the Schlegels’ critical schools to Walter Benjamin’s dissertation on German Romantic criticism to the present ‘ethical turn’ in literary studies – before parcelling it out by means of chapter synopses. It also clarifies the terminology that Robinson applied, for instance ‘literator’ for his career choice of cross-cultural literary critic and disseminator – or comparatist, in today’s terms.
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O'Connor, Adrian. "Republican instruction: an elusive ideal." In In Pursuit of Politics. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781526120564.003.0009.
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The collapse of the constitutional monarchy and the establishment of the French Republic presented a deep fissure in the history of the Revolution and, with that, in the ambitions and expectations of revolutionary pedagogy. And yet, a close examination of the republican debates over education, and especially of the practical reform efforts undertaken by the National Convention and by local authorities and school administrators, suggests important continuities across the monarchy-republic divide. These attempts to preserve, reform, and reimagine educational institutions during the first years of the Republic suggest that the pursuit of public instruction, of contestatory politics, of critical and contributive citizenship, and of an engaged and educated citizenry was more sustained, more ambitious, and more nuanced than is often recognized. These points are highlighted in a re-examination of how the revolutionaries sought to use particular pedagogical instruments, such as republican catechisms, political festivals, revolutionary songs, and the like, and of their continued attempts to make the educational institutions inherited from the Ancien Régime work for the new Republic.
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Moylan, Terry. "Political Song in the Age of Revolution." In The Oxford Handbook of Irish Song, 1100-1850, C39.P1—C39.N51. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190859671.013.39.
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Abstract The American and French revolutions of the late eighteenth century demonstrated that novel forms of social organisation were possible, ones that were radically different from the monarchies that ruled all of Europe. In Ireland, those who were seeking to modify Ireland’s connection with Britain were quick to embrace the alternative model of a democratic republic. The organisation that was most involved in promoting democracy, and separation from Britain, was the Society of United Irishmen. Founded in Belfast in 1791 as a reformist body, in its later, revolutionary phase, it adopted novel means of disseminating its political programme, including the use of popular song, many of which were copied from the radical press in Britain. There had been political songs in the English language in Ireland since the late seventeenth century, but the United Irishmen were the first to use the form in a consistent way, publishing four collections, each of several dozen items, in the years 1795, 1796, 1798, and 1803, on each occasion timed to coincide with some special effort, including armed action. The perceived success of this tactic led to it being imitated by Irish loyalists, who published similar collections, clearly a reaction to the United Irishmen’s songs, many of them parodies of the earlier material.