Bibliographies thématiques / Breton ballads and songs

Littérature scientifique sur le sujet « Breton ballads and songs »

Auteur : Grafiati
Publié le 27 juillet 2024
Mis à jour le 29 juillet 2024

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Articles de revues sur le sujet "Breton ballads and songs"

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Blanchard, Nelly. « La Villemarque's Barzaz-Breiz (1839-1845-1867) : A Romantic Fiction to Reinvent Oneself ». Studia Celto-Slavica 13 (2023) : 85–100. http://dx.doi.org/10.54586/qjld3419.

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In 1839, Viscount Théodore Hersart de La Villemarqué published the Barzaz-Breiz (The Popular Ballads of Brittany) at his own expense. He was only 24 years old at the time. This book would bring him fame, give him a name and was to influence all of his future work. The Barzaz-Breiz was then further developed and modified twice afterwards, in 1845 and 1867. To this day it remains one of the best known books in Breton language literature. There are several reasons why the Barzaz-Breiz should not be reduced to just a collection of popular ballads as its title and research on the subject suggest. First of all, the authenticity of the songs of the Barzaz-Breiz and their possible modification, manipulation — or even their total invention by de la Villemarqué — have been the object of so much scholarly debate since the beginning of what came to be called the Barzaz-Breiz dispute, that attention has almost exclusively been focused on the ballads, leaving the rest of the text in the shadows. Secondly, there is a yawning chasm separating La Villemarqué’s work from that of his contemporaries who also collected popular songs. The book forms a space which is made up of de la Villemarqué’s words and serves as the locus for his reallocation of meanings to words. What we are given to read here is no less than a dissertation about the author himself. This paper therefore posits that the Barzaz-Breiz is not a mere collection of popular songs but rather a text — de la Villemarqué is not a mere collector but an author.
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Shields, Hugh, et Mary-Ann Constantine. « Breton Ballads ». Béaloideas 64/65 (1996) : 406. http://dx.doi.org/10.2307/20522487.

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Gowans, Linda, et Mary-Ann Constantine. « Breton Ballads ». Jahrbuch für Volksliedforschung 42 (1997) : 189. http://dx.doi.org/10.2307/848056.

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Walsh, Kieran. « Irish Songs and Ballads ». BMJ 332, no 7535 (28 janvier 2006) : gp40.2—gp40. http://dx.doi.org/10.1136/bmj.332.7535.sgp40-a.

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METZER, DAVID. « The Power Ballad and the Power of Sentimentality ». Journal of American Studies 50, no 3 (15 juin 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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Baker, Ronald L., Rochelle Wright et Robert L. Wright. « Danish Emigrant Ballads and Songs ». Journal of American Folklore 98, no 389 (juillet 1985) : 366. http://dx.doi.org/10.2307/539958.

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Murray, Alan, et 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 et 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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Czerwinski, E. J., et 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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Kvideland, Reimund, Rochelle Wright, Robert L. Wright et 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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Thèses sur le sujet "Breton 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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Le, Nevez Adam. « Language diversity and linguistic identity in Brittany : a critical analysis of the changing practice of Breton / ». Electronic version, 2006. http://adt.lib.uts.edu.au/public/adt-NTSM20060905.165032/index.html.

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Sparling, Heather. « Puirt-a-beul an ethnographic study of mouth music in Cape Breton / ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ56204.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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Butterss, Philip. « Australian ballads : the social function of British and Irish transportation broadsides, popular convict verse and goldfield songs ». Phd thesis, Department of English, 1989. http://hdl.handle.net/2123/6189.

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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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Livres sur le sujet "Breton ballads and songs"

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Morvan, Frères. Teñzor ar Botkol : Patrimoine chanté des frères Morvan : kan ha diskan, gwerzioù, kanaouennoù a boz, rimoustadennoù--. Spezet : Coop Breizh, 2002.

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Laurent, Donatien. Aux sources du Barzaz-Breiz : La mémoire d'un peuple. Douarnenez : ArMen, 1989.

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

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

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Nancy, Marshall, dir. Scottish songs and ballads. Edinburgh : Chambers, 1990.

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Miracles and Murders : An Introductory Anthology of Breton Ballads. Oxford University Press, 2017.

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Constantine, Mary-Ann. Breton Ballads. CMCS Publications, 1996.

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Songs & Ballads. Prelude Books, 2018.

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Davidson, John. Ballads & Songs. Adamant Media Corporation, 2001.

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Songs And Ballads. Franklin Classics, 2018.

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Chapitres de livres sur le sujet "Breton ballads and songs"

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Birrell, Anne. « Love Songs ». Dans Popular Songs and Ballads of Han China, 145–61. London : Routledge, 2022. http://dx.doi.org/10.4324/9781003169680-10.

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Birrell, Anne. « Burial Songs ». Dans Popular Songs and Ballads of Han China, 94–99. London : Routledge, 2022. http://dx.doi.org/10.4324/9781003169680-5.

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Birrell, Anne. « Anti-war Ballads and Songs ». Dans Popular Songs and Ballads of Han China, 116–27. London : Routledge, 2022. http://dx.doi.org/10.4324/9781003169680-7.

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Birrell, Anne. « The Ideal Home and Perfect Marriage ». Dans Popular Songs and Ballads of Han China, 162–74. London : Routledge, 2022. http://dx.doi.org/10.4324/9781003169680-11.

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Birrell, Anne. « The Elixir of Life ». Dans Popular Songs and Ballads of Han China, 64–77. London : Routledge, 2022. http://dx.doi.org/10.4324/9781003169680-3.

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Birrell, Anne. « Domestic Drama ». Dans Popular Songs and Ballads of Han China, 128–38. London : Routledge, 2022. http://dx.doi.org/10.4324/9781003169680-8.

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Birrell, Anne. « Fables in Verse ». Dans Popular Songs and Ballads of Han China, 45–63. London : Routledge, 2022. http://dx.doi.org/10.4324/9781003169680-2.

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Birrell, Anne. « Homeward Thoughts ». Dans Popular Songs and Ballads of Han China, 139–44. London : Routledge, 2022. http://dx.doi.org/10.4324/9781003169680-9.

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Birrell, Anne. « Political Broadsides ». Dans Popular Songs and Ballads of Han China, 100–115. London : Routledge, 2022. http://dx.doi.org/10.4324/9781003169680-6.

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Birrell, Anne. « Carpe Diem ». Dans Popular Songs and Ballads of Han China, 78–93. London : Routledge, 2022. http://dx.doi.org/10.4324/9781003169680-4.

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Actes de conférences sur le sujet "Breton ballads and songs"

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Loboda, M., et L. Litvinova. « RICHARD THE LIONHEART, THE ENGLISH KING ». Dans Manager of the Year. FSBE Institution of Higher Education Voronezh State University of Forestry and Technologies named after G.F. Morozov, 2022. http://dx.doi.org/10.34220/my2021_140-142.

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The article is dedicated to the English King Richard the Lionheart. The authors explore the reasons for the popularity of this king with the English, they made Richard the hero of countless English medieval ballads and songs. The article provides general biographical information on Richard the Lionheart, examining the dynastic grounds for his ascension to the English throne. Opposite to other English kings, Richard received his second noble name “Lionheart” as a result of the Crusade. His amazing courage and even rage for the Holy Sepulchre struggle, sacrifice, energy, commitment to the holy ideals, the talent of a warrior, human kindness are considered the undoubted positive qualities of the king. As the British think these are the basis for this English king to become famous in the history of the country and in the memory of the people. But some historical sources are rather critical towards well-established opinion about Richard the Lionheart, however, the fact of popular recognition of him as a real king, warrior and defender remains unquestionable.
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