Academic literature on the topic 'Political ballads and songs – Germany'
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Journal articles on the topic "Political ballads and songs – Germany"
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Kuhn, Christian. "Urban Laughter as a “Counter-Public” Sphere in Augsburg: The Case of the City Mayor, Jakob Herbrot (1490/95–1564)." International Review of Social History 52, S15 (November 21, 2007): 77–93. http://dx.doi.org/10.1017/s0020859007003136.
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Social movement scholarship has recently focused on “popular” media of protest; reading and singing provided a forceful communicative structure in semi-literate urban society, especially in Augsburg, the largest city of Reformation Germany. The case of Jakob Herbrot (1490/95–1564) combines the antagonisms of political, social, and religious movements; a rich Calvinist, he climbed the social ladder from a lowly regarded profession to the highest office of the imperial city in a precarious time of confessional armed conflict. Herbrot's conduct triggered a life-long series of accusations, polemics, satires, humorous ballads, and songs, material that allows a reassessment of the early modern discourse of Öffentlichkeit, as well as of urban laughter in the “public sphere” before its modern elevation to the central doctrine of bourgeois society. The sources suggest that humour was of essential importance to the public in the early modern city, a counter-public in the sense of an independent political arbiter.
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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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Todd, Malcolm. "Goethe and prehistory." Antiquity 59, no. 227 (November 1985): 197–201. http://dx.doi.org/10.1017/s0003598x00057264.
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In this fascinating article, the Professor of Archaeology in the University of Exeter shows us that Johann Wolfgang von Goethe (1749–1832) was not only the author of Faust, The Sorrows of Young Werther, and of beautiful lyrics, ballads and love-songs, but was keenly interested in prehistory and was well abreast of the subject as it was developing in Germany in the early nineteenth century.
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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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Morris, Nancy. "Canto Porque es Necesario Cantar: The New Song Movement in Chile, 1973–1983." Latin American Research Review 21, no. 2 (1986): 117–36. http://dx.doi.org/10.1017/s0023879100015995.
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“Para el camino” Canto a la angustia y a las alegrias. Canto porque es necesario can tar para ir dejando una huella en los dias, para ir diciendo cosas prohibidas.“For the Road” I sing of anguish and joy. I sing because it's necessary to sing to leave my mark on time, to say forbidden things.Latin American New Song is distinct from the usual stereotypes of Latin American popular music. Songs such as “Para el camino” do not fit into the common categories of salsa, ballads, Spanish-language versions of U.S. hit songs or popularized traditional styles such as the ranchera and cumbia. Although New Song is not as well known as the more typical styles, its greater social significance has achieved an impact in Latin America far beyond the musical realm.
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Liugaitė-Černiauskienė, Modesta. "Ballads in Oral and Written Tradition: Retrospective Research Survey." Tautosakos darbai 55 (June 25, 2018): 13–35. http://dx.doi.org/10.51554/td.2018.28497.
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The article aims at reviewing the rich and ambivalent Western folk ballad research tradition in terms of confluence of the oral and written traditions. Although being well-reflected in the West, this approach is hardly at all present in Lithuania. The article starts with discussing such cultural phenomenon as broadside ballads. In surveying them, the author maintains that popular publications of the 16th–19th century Europe (bibliothèque bleue, skyllingtricker, Volksbuch, pliegos de cordel, лубочная литература, etc.) were an inherent part of the folk culture. Printed sheets of folksongs and ballads used to be popular in Great Britain, the Netherlands, France, Italy, Spain, Germany, and subsequently in America. However, although spread and promoted by the press, the ballads hardly ascended the field of interest of the educated elite, remaining instead in the “lower” spheres of the popular culture.The first collectors of ballads from the 18th century (the “antiquarian period”) paid little attention to the sources of their material, being instead very keen on improving and elaborating of the ballad texts, and presenting them as creative manifestations of the “original bard” or the “national muse”. After the collections by Thomas Percy and Walter Scott appeared, William Motherwell turned back to the still thriving ballad tradition. This Scottish scholar, followed by his Danish colleague Svend Grundtvig and the American Francis James Child founded the modern ballad folklore research, since their collections represented the oral folk tradition rather than engaging in search for the “original” folk ballads. The subsequent researchers, influenced by the Child’s ballad scholarship (Phillips Barry, Cecil J. Sharp, Olive D. Campbell, Louise Pound, Henry M. Belden, etc.), continued investigating the American ballad legacy. However, while collecting and encouraging to further collect the surviving ballads they increasingly realized the huge distance between their endeavors and the Child’s collection. The heterogeneous and fragmented nature of the ballads from the oral tradition was increasingly recognized and acknowledged, along with unavoidable impact of the written and printed sources.Barre J. Toelkien, the scholar belonging to even later generation, attempted methodical indexing of the oral ballads belonging to the Child’s collection. Dianne M. Dugaw in turn suggested that assuming the non-written songs, those from the oral tradition, being inherently different from the printed ones had largely affected the way in which folklore researchers perceived and interpreted folksongs. She concluded that differences devised between the written and non-written, between commercial and non-commercial forms were frequently just illusive, since commercial dissemination constituted an integral part of the folksongs development.In view of the confluence of the oral and written traditions surveyed in this article, it is reasonable to conclude that written culture, or rather the popular press, constituted a significant factor affecting the existence of folk ballads in the West; because of obvious reasons, such culture was absent in old-time Lithuania. Contrary to Lithuania, the ballad tradition of the West was nurtured by the written and printed sources. Therefore, the Lithuanian case could present a kind of thought experiment to the folklore researcher, vividly illustrating the plausible ballad tradition development in the West, if it could be unaffected by such phenomena as printed texts in native languages, readily available to the common people.
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Fals, Iwan. "Guitar versus tanks." Index on Censorship 26, no. 2 (March 1997): 74–75. http://dx.doi.org/10.1177/030642209702600224.
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Known as ‘the Indonesian Bob Dylan’, Iwan Fals is one of the country's most popular singers. Many of his ballads address important social and political matters. He has repeatedly been approached by both opposition parties to stand for Parliament, but says he is not interested. His live performances are frequently banned. In 1984 the army halted a show in Pekanbaru, Sumatra, on the grounds that two of his songs — ‘Demokrasi Nasi’ (Rice Democracy) and ‘Mbak Tini’ (Sister Tini) — were a threat to public order. In 1989 the police banned his 100-town tour. ‘All I carry is a guitar made of wood and strings,’ he said then. ‘How can this be dangerous, compared to a tank?’ And his shows continue to be banned — most recently in Ujung Pandang in 1996
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Teleutsia, Valentyna, Alla Pavlova, Liliia Sydorenko, Neonila Tilniak, Yuliya Kapliyenko-Iliuk, and Natalia Venzhynovych. "Mode of Understanding the Terms "Concept" and "Folklore Concept" in Modern Humanities." Studies in Media and Communication 10, no. 3 (December 18, 2022): 40. http://dx.doi.org/10.11114/smc.v10i3.5832.
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The urgency of the study is explained by the importance of a thorough study of typology and classification of concepts in terms of modern cognitive linguistics, linguoculturology, history, ethnolinguistics, philosophy and psychology, including folklore concept as a set of signs that form a semiotic model of national and cultural experience and allow in-depth study of cultural processes in the light of historical and national factors. The aim of the article is to try to comprehend the concept and folklore concept from the standpoint of modern researchers working in various fields of humanities, to analyse, compare the main aspects of studying the problem, considering industry specific features. The main research method is a theoretical method that involves analysis, synthesis, generalisation of the theoretical basis on this topic, and the subject of study – the term concept as a tool of scientific analysis, mental construct and unit of consciousness. The article identifies the main structural and classification features of concepts, diversity of views on the problem of folklore concept from the standpoint of scholars from different fields of humanities and representatives of different cultural strata, the specific features of Ukrainian folklore are considered in detail on the example of texts of thoughts, historical songs, songs-chronicles, wedding songs, carols, Christmas carols, ballads. The materials presented in this paper will help to clarify the specific features and breadth of the mode of understanding certain cultural, folklore and historical phenomena at the intersection of various humanities and social sciences.
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Hsueh, Vicki. "Intoxicated Reasons, Rational Feelings: Rethinking the Early Modern English Public Sphere." Review of Politics 78, no. 1 (2016): 27–57. http://dx.doi.org/10.1017/s0034670515000868.
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AbstractThis article examines early modern English public houses and related period miscellany—broadside ballads, conduct books, and songs—to more closely investigate the discourses and performances of drinking culture. Drinking culture, I argue, not only had a significant role in shaping the Restoration's civic culture of political participation and the emerging early modern public sphere, but also positioned emotions of pleasure and melancholy as social and political objects of care and cultivation. While the politics of pub culture and intoxication have been well documented by historians and literary scholars of early modern England and eighteenth-century America, much of this discussion has not yet been incorporated into political assessments of the public sphere and its history. Reinserting emotion and intoxication into the emergence of the public sphere helps to flesh out the history of feeling and social ritual in civic engagement.
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Love, Timothy M. "Irish Nationalism, Print Culture and the Spirit of the Nation." Nineteenth-Century Music Review 15, no. 2 (February 7, 2017): 189–208. http://dx.doi.org/10.1017/s1479409817000015.
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Recent investigations into the survival and dissemination of traditional songs have elucidated the intertwining relationship between print and oral song traditions. Musical repertories once considered distinct, namely broadside ballads and traditional songs, now appear to have inhabited a shared space. Much scholarly attention has been focused on the print and oral interface that occurred in eighteenth- and nineteenth-century Britain.Less attention has been paid, however, to music in Ireland where similar economic, cultural and musical forces prevailed. Yet, Ireland’s engagement in various nationalist activities throughout the nineteenth century added a distinctly political twist to Ireland’s print–oral relationship. Songbooks, a tool for many nineteenth-century nationalist movements, often embodied the confluence of print and oral song traditions. Lacking musical notation, many songbooks were dependent on oral traditions such as communal singing to transmit their contents; success also depended on the large-scale distribution networks of booksellers and ballad hawkers. This article seeks to explore further the print–oral interface within the context of Irish nationalism. Specifically, I will examine how one particular movement, Young Ireland, manifested this interface within their songbook, Spirit of the Nation. By examining the production, contents, and ideology of this songbook, the complex connections between literature, orality and nationalism emerge.
Dissertations / Theses on the topic "Political ballads and songs – Germany"
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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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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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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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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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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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KÖRNER, Axel. "Idee und Traum einer anderen Welt : Arbeiterlieder und alternative Kulturbewegungen in Frankreich und Deutschland im 19 Jahrhundert." Doctoral thesis, 1995. http://hdl.handle.net/1814/5861.
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Defence date: 29 September 1995Examining board: Prof. Dr. Heinz-Gerhard Haupt (EUI; Universität Halle; interner Betreuer) ; Prof. Dr. Reinhard Kannonier (Universität Linz) ; Prof. Dr. Jürgen Kocka (Freie Universität Berlin; externer Betreuer) ; Prof. Dr. Yves Lequin (Université Lyon II) ; Prof. Dr. Luisa Passerini (EUI)
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
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Hardwick, Victoria. "A legacy of hope : critical songs of the GDR 1960-1989 / Victoria Hardwick." Thesis, 1996. http://hdl.handle.net/2440/18889.
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Jackson, Margaret R. Pope Jerrold. "Workers unite! the political songs of Hanns Eisler, 1926-1932 /." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-11172003-180442/.
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Treatise (D.M.A.) -- Florida State University, 2003.Advisor: Jerrold Pope, Florida State University, School of Music. Title and description from treatise home page (viewed 9-29-04). Document formatted into pages; contains 77 pages. Includes biographical sketch. Includes bibliographical references.
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Horgan, Kate. "Singing to the king : the politics of songs in eighteenth-century Britain c. 1723-1795." Phd thesis, 2012. http://hdl.handle.net/1885/150039.
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This study analyses the importance of songs in British eighteenth-century culture with specific reference to their political meaning. Traditionally marginalized in accounts of the ballad and the role of the ballad in literary culture, the political song will be situated as a multivalent phenomenon. Using an interdisciplinary methodology, combining the perspectives of literary studies and cultural history and deploying a neo{u00AD}Platonic framework which highlights the utilitarian power of songs, the argument is focused on four major case-studies, covering the period 1723-1795. Its organizing theme derives from the story of the rescue of King Richard the Lionheart from imprisonment by the singing of his minstrel Blondel, which emerges in eighteenth{u00AD}century ballad and music scholarship, and again in the context of the French Revolution. The thesis traces the various manifestations of this theme as a way of establishing the interconnections between topical songs, political songs, classical songs, hymns, psalms and ballads as way of illustrating the complexity of political song culture in this period. The first case-study recovers the 'Old Whig' identity of the anonymous editor of A Collection of Old Ballads (1723-25) in an analysis of the transmission and interpretation of 'A Princely Song of Richard Cordelion', which appears in the Collection. The chapter explores the politicization of song in the scholarship of Thomas Percy and Joseph Ritson and how song registered in various forms of print culture, including newspapers in 1786 when the Richard trope re-emerged. The role of the 'Old Hundredth' psalm as a national anthem alongside 'God Save the King' forms the second case-study. The 'Old Hundredth' came from a culturally entrenched version of the psalms known as 'Sternhold and Hopkins' which were implicated in questions of literary value at the formative moment of the ballad revival, and have rarely been considered as a context for the ballad revival. These two songs were sung in the second episode of singing to the King, in 1788, in thanks for King George Ill's recovery from illness. Psalmody as political song is also implicated in the third case-study from 1789 which recovers the role of songs in the ceremonies of elite political-reform associations and the classical song tradition of the 'Harmodium Melos'. The musical imagery in Edmund Burke's The Reflections on the Revolution in France (1790) and An Appeal from the New to the Old Whigs (1791), is used to conceptualise the danger that songs could pose in the revolutionary context by circulating beyond the political elite to the lower orders. The final case-study examines songs in radical Sheffield and the1795 imprisonment of James Montgomery for printing a political song. Montgomery's fate is analysed as the outcome of a set of connections between the songs of the United Irishmen and the use of songs as evidence in the trial of Thomas Muir for sedition, in Scotland, and the London treason trials of 1794. The role of song in the crisis of the 1790s, the thesis argues, is not only produced by its immediate contexts, but can best be understood as part of a resonant cultural politics with a long and complex history.
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Yudkoff, Ambigay. ""When voices meet" : Sharon Katz as musical activist during the apartheid era and beyond." Thesis, 2018. http://hdl.handle.net/10500/25340.
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This study investigates the work of the performer, composer, educator, music therapist and activist Sharon Katz. Beginning in 1992, Katz made history in apartheid South Africa when she formed a 500-member choir that showcased both multi-cultural and multi- lingual songs in their staged the production, When Voices Meet, which incorporated music, songs and dance, intended to assist in promoting a peaceful transition to democracy in South Africa.
The success of the concerts of When Voices Meet led to Katz securing sponsorships to hire a train, “The Peace Train”, which transported 130 performers from city to city with media crews in tow. The performers’ mission on this journey was to create an environment of trust, of joy, and of sharing through music, across the artificially-imposed barriers of a racially segregated society.
This investigation includes several areas of inquiry: The South African Peace Train; the efforts of the non-profit Friends of the Peace Train; Katz’s work with Pennsylvania prisoners and boys at an American Reform School; the documentary When Voices Meet, and the American Peace Train Tour of July 2016, bringing the message of peace and harmony through song to racially and socio-economically divided Americans on a route that started in New York and culminated with a concert at UNESCO’s Mandela Day celebrations in Washington D. C. These endeavours are examined within the framework of musical activism.
The multi-faceted nature of Katz’s activism lends itself to an in-depth multiple case study. Qualitative case study methodology will be used to understand and theorise musical activism through detailed contextual analyses of five significant sets of related events. These include Katz’s work as a music therapist with prisoners in Pennsylvania and a Boys’ Reform School; as activist with The South African Peace Train of 1993; as humanitarian with Friends of the Peace Train; in making the documentary, When Voices Meet, and as activist with the American Peace Train Tour of 2016.
In documenting the grass-roots musical activism of Sharon Katz, I hope to contribute towards a gap in South African musicological history that would add to a more comprehensive understanding of musical activism and its role in social change.Art History, Visual Arts and Musicology
D. Litt. et Phil. (Musicology)
Books on the topic "Political ballads and songs – Germany"
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1962-, Robb David, ed. Protest song in East and West Germany since the 1960s. Rochester, N.Y: Camden House, 2007.
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Degenhardt, Franz Josef. Kommt an den Tisch unter Pflaumenbäumen: Alle Lieder mit Noten bis 1975. Reinbek bei Hamburg: Rowohlt, 1986.
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Im Bernstein der Balladen: Lieder und Gedichte. Berlin: Propyläen, 2016.
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Eginhard, König, and Folk- & Volksmusikwerkstatt Regensburg und Ostbayern., eds. "Ich hatt' einen Kameraden ...": Militär und Kriege in historisch-politischen Liedern in den Jahren von 1740 bis 1914. Regensburg: ConBrio, 1999.
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Volksliedsammlungen und historischer Kontext: Kontinuität über zwei Jahrhunderte? Frankfurt am Main: Lang, 1986.
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Brenner, Helmut. Gehundsteh Herzsoweh: Erzherzog-Johann-Liedtraditionen vor, in, neben und nach "Wo i geh und steh". Mürzzuschlag [Austria]: Ars Styriae, 1996.
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1959-, John Eckhard, ed. Volkslied - Hymne - politisches Lied: Populäre Lieder in Baden-Württemberg. Münster: Waxmann, 2003.
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Maurer, Philipp. Danke, man lebt: Kritische Lieder aus Wien, 1968-1983. Wien: Österreichischer Bundesverlag, 1987.
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Dieter, Dowe, and Friedrich-Ebert-Stiftung, eds. Schlüssel zweier Welten: Politisches Lied und Gedicht von Arbeitern und Bürgern 1848-1875. Bonn: Friedrich-Ebert-Stiftung, Historisches Forschungszentrum, 2001.
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1959-, John Eckhard, and Steinitz Wolfgang 1905-1967, eds. Die Entdeckung des sozialkritischen Liedes: Zum 100. Geburtstag von Wolfgang Steinitz. Münster: Waxmann, 2006.
Find full textBook chapters on the topic "Political ballads and songs – Germany"
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Birrell, Anne. "Political Broadsides." In Popular Songs and Ballads of Han China, 100–115. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003169680-6.
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Brauer, Juliane. "Feeling Political by Collective Singing: Political Youth Organizations in Germany, 1920–1960." In Feeling Political, 277–306. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-89858-8_10.
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AbstractThis chapter explores the culture of singing in youth organizations, a seemingly non-political institution, which, through its capacity to create a community, was used for spreading political feelings and messages. Communal singing was one of the main practices in youth organizations of the twentieth century. Singing specific songs made it possible for young people to learn political emotions and attitudes. Singing in a community could convey desired values, attitudes, and emotions and, ideally, harmonize them. The song Wann wir schreiten Seit’ an Seit’ (When we stride side by side, 1913) was the most important song of the social democratic youth movement in the 1920s, subsequently adapted and modified by the Hitler Youth during the National Socialist era, and later sung by youth organizations in both Germanies. Its history shows how the repeated, communal singing of certain songs, even in very different contexts, could establish political emotions such as hope for a better future.
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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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"Political Broadsides." In Popular Songs and Ballads of Han China, 82–99. University of Hawaii Press, 2019. http://dx.doi.org/10.2307/j.ctv9zcm2j.13.
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McIlvenna, Una. "Political Executions in Song." In Singing the News of Death, 285–342. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197551851.003.0007.
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Abstract This chapter examines ballads about executions for political crimes. Convictions for treason usually involved members of the nobility, so ballads about such figures were especially in demand, combining as they did spectacular executions with a celebrity subject. It looks at the fall of royal favourites, noting that social rank was the crucial factor determining whether ballads could be sympathetic or vengeful. It also looks at nationalist heroes and rebels, with the Dutch providing a national case study. An examination of the execution ballads of monarchs reveals that sympathy about their execution depended on the region in which the ballad was composed and the gender of the subject, with misogyny clearly evident in songs about queens. It closes by examining songs about those who attempted to assassinate rulers, revealing that ballads were generally conservative, frowning on the nationalist sentiments of the regicides.
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Morgan, Alison. "Introduction." In Ballads and songs of Peterloo, 1–39. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784993122.003.0001.
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This chapter begins by outlining the events leading up to the Peterloo Massacre on 16th August 1819 and its immediate aftermath with a particular focus on the response in the radical and loyalist press. By combining eye-witness accounts with contemporaneous reporting, the significance of Peterloo at the time can clearly be recognised. This chapter then focuses on the radical press, both in the 1790s, including Thomas Spence’s Pigs’ Meat and the 1810s, including the Manchester Observer, Medusa, Wooler’s Black Dwarf, Hunt’s Examiner and Carlile’s Republican, The Cap of Liberty, The Theological and Political Comet and The Briton, in which many of the ballads and songs were printed. Finally, this introduction discusses the place of the broadside ballad in vernacular culture from the sixteenth to the early nineteenth century and the appropriation of it by antiquarians in the eighteenth century.
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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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Morgan, Alison. "‘Those true sons of Mars’: chivalry, cowardice and the power of satire." In Ballads and songs of Peterloo, 150–93. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784993122.003.0006.
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This is the longest section in the book and comprises seventeen poems, many of which use satire not only to delight a sympathetic readership but also as a way of demonstrating defiance and voicing outrage at the actions of the authorities both during and after Peterloo. The introduction explores how writers in the Romantic period, from the full range of the cultural spectrum, used satire as a form of cultural defiance and challenge to authority at a time when any form of opposition was deemed seditious. Another theme evident is that of chivalry, a contentious issue during the eighteenth century with its revival by conservatives such as Edmund Burke fuelling a radical counter-revival focussed on a new age of political chivalry. As a consequence, the language and symbolism of chivalry was adopted by both conservatives and radicals in support of their cause. The Manchester Yeomanry Cavalry is the target of many of thesatirical poems in this section, alongside the detested politicans, Lords Castlereagh and Sidmouth and the Manchester Magistrate, Reverend Ethelstone. It includes poems written by the radical writers, Robert Shorter and Allen Davenport.
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Karlin, Daniel. "Introduction." In Street Songs, 1–12. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198792352.003.0001.
Full textAbstract:
Street Songs, based on the Clarendon Lectures for 2016, is about the use made by poets and novelists of street songs and cries. Karlin begins with the London street-vendor’s cry of ‘Cherry-ripe!’, as it occurs in poems from the sixteenth to the twentieth century: the ‘Cries of London’ (and Paris) exemplify the fascination of this urban art to writers of every period. Focusing on nineteenth and early twentieth-century writers, the book traces the theme in works by William Wordsworth, Elizabeth Barrett Browning, Robert Browning, Walt Whitman, George Gissing, James Joyce, Virginia Woolf, and Marcel Proust. As well as street cries, these writers incorporate ballads, folk-songs, religious and political songs, and songs of their own invention into crucial scenes, and the singers themselves range from a one-legged beggar in Dublin to a famous painter in fifteenth-century Florence. The book concludes with the beautiful and unlikely ‘song’ of a knife-grinder’s wheel. Throughout the book Karlin emphasizes the rich complexity of his subject. The street singer may be figured as an urban Orpheus, enchanting the crowd and possessed of magical powers of healing and redemption; but the barbaric din of the modern city is never far away, and the poet who identifies with Orpheus may also dread his fate. And the fugitive, transient nature of song offers writers a challenge to their more structured art. Overheard in fragments, teasing, ungraspable, the street song may be ‘captured’ by a literary work but is never, finally, tamed.
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Howard, Keith. "Composing the Nation." In Songs for "Great Leaders", 215–40. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190077518.003.0009.
Full textAbstract:
In North Korea, with songs fundamental to ideology and central to cultural production, composers face challenges. How can large-scale pieces for instrumental ensembles and orchestras be composed? This chapter begins by discussing how composition activity developed in North Korea, initially with Japanese and then Soviet influence. It considers key early compositions that are no longer acceptable for performance in North Korea. It then shows how early, Japanese-colonial-era popular song structures were upscaled to create symphonic poems, and, from these, how combining the songs and interpretations of the dramatic action of revolutionary operas allowed these to be upscaled into symphonic works. The focus then shifts to the avant-garde composer Isang Yun (1917–1995), who was the best-known Korean composer of the twentieth century in international circles. Yun, after being forced to return to South Korea from Germany and being tried for sedition, was latterly celebrated in North Korea, and his story became the subject of four feature-length films made in Pyongyang. The chapter analyzes three of his most political works to explain why, despite his celebrity, his musical style was never fully acceptable to North Korea, and how he failed to fully embrace the socialist realism frame that North Korean ideology required.