Littérature scientifique sur le sujet « Political ballads and songs – France »
Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres
Consultez les listes thématiques d’articles de revues, de livres, de thèses, de rapports de conférences et d’autres sources académiques sur le sujet « Political ballads and songs – France ».
À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.
Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.
Articles de revues sur le sujet "Political ballads and songs – France"
1
Murphy, Emilie K. M. « Music and Catholic culture in post-Reformation Lancashire : piety, protest, and conversion ». British Catholic History 32, no 4 (11 septembre 2015) : 492–525. http://dx.doi.org/10.1017/bch.2015.18.
Texte intégralRésumé :
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.
2
Toftgaard, Anders. « Blandt talende statuer og manende genfærd. Mazarinader i Det Kongelige Biblioteks samlinger ». Fund og Forskning i Det Kongelige Biblioteks Samlinger 53 (2 mars 2014) : 57. http://dx.doi.org/10.7146/fof.v53i0.118825.
Texte intégralRésumé :
Anders Toftgaard: Amongst speaking statues and admonishing ghosts. Mazarinades in the collections of The Royal Library
Mazarinade is a term for political writing that was published in different forms in France during (and related to) the Fronde (1648–1653). The Fronde was a series of civil wars that first broke out when Louis XIV (born 1638) was still a child, and Mazarin was the Chief Minister of France and responsible for the young king’s education. Mazarin governed the country together with the king’s mother, Anne of Austria. The term mazarinade covers pamphlets, letters, official documents, burlesque poetry, sonnets and ballads, discourses and dialogues.The Royal Library in Copenhagen holds a collection of mazarinades. The Copenhagen collection was overlooked by scholars and Hubert Carrier (who travelled widely) because it had not been properly catalogued. The collection of mazarinades in the Royal Library has now been catalogued by the author of the article, and the catalogue is available in Fund og Forskning online. The article serves as an introduction to this hitherto unknown collection of mazarinades. After a presentation of the Fronde, and the term mazarinade and its denotation, the article lists the rare and unique mazarinades in the collections of The Royal Library, Copenhagen and where possible, traces their provenance.The collection consists of 33 volumes of mazarinades that have been put together in the 19th century in order to form a single collection: Collection de mazarinades. Apart from this Collection de mazarinades there are other mazarinades in the holdings, stemming both from the Royal Library and from the University Library. The 33 volumes (one volume has been missing for years) have been grouped together by various subsets. One of these subsets is a collection of mazarinades created by Pierre Camuset, who lived during the time of the Fronde. Camuset introduces himself as “conseiller du roi, eslu en l’election de Paris”. Archival records show that he was appointed to this position on 9 December 1622, that in 1641 he married Agnès, daughter of Jean Le Noir, lawyer to the Parliament of Parisian, and that he died some years before 1670.In the Collection de Mazarinades, there are approx. 100 mazarinades which were considered rare or “rarissime” by Célestin Moreau in his Bibliographie des mazarinades (1850–1851). There are three mazarinades, which would seem to be unique; three mazarinades, which are not recorded in the existing bibliographies of mazarinades (made by D’Artois and Carrier, in the Bibliothèque Mazarine) but of which there are copies in other libraries. There is a mazarinade printed by Samuel Brown in The Hague, which has not been recorded elsewhere. Finally, there are 11 mazarinades printed by Jean-Aimé Candy in Lyon, of which only three, judging from existing catalogues and bibliographies, seem to exist in other libraries.Only few of the mazarinades were brought to Denmark during the Fronde. Most of them were collected by Danish 18th century collectors. Surprisingly, only a small part stems from the incredibly rich library of Count Otto Thott (1703–1785). When Thott’s library was auctioned off, his mazarinades were bought by Herman Treschow (1739–1797) who acted as a commission agent for numerous book collectors, and due to the detailed cataloguing in Thott’s auction catalogue, it would probably be possible to find the volumes from his library in a foreign library.Both Hans Gram (1685–1748) and Bolle Willum Luxdorph (1716–1788) owned copies of Gabriel Naudé’s Mascurat in which they wrote handwritten notes. Luxdorph was the great collector of Danish press freedom writings. In his marginal notes he compares a passage in Naudé’s text about common people appropriating the art of printing with his own experience of a servant who came up with songs that were “assez mechants” during the fall of Struensee on 17 January 1772: “Mon valet faisait aussi d’asséz méchans vers su aujet de la revolution du 17de janvier 1772”. Luxdorph’s reading of Mascurat is thus in close connection with his interest in writings on press freedom.The Mazarinades are valuable both for studies in history, literary history and history of the book. More specifically, the collection of Mazarinades in the Royal Library, on the one hand, through the example of Pierre Camuset, shows how an individual tried to get a grasp of an abnormal period, and on the other hand, through the example of Luxdoph, very clearly testifies to the 18th century interest in the history of the book and in historical periods with de facto freedom of the press.
3
O’Brien, Ellen L. « “THE MOST BEAUTIFUL MURDER” : THE TRANSGRESSIVE AESTHETICS OF MURDER IN VICTORIAN STREET BALLADS ». Victorian Literature and Culture 28, no 1 (mars 2000) : 15–37. http://dx.doi.org/10.1017/s1060150300281023.
Texte intégralRésumé :
To say that this common [criminal] fate was described in the popular press and commented on simply as a piece of police news is, indeed, to fall short of the facts. To say that it was sung and balladed would be more correct; it was expressed in a form quite other than that of the modern press, in a language which one could certainly describe as that of fiction rather than reality, once we have discovered that there is such a thing as a reality of fiction.—Louis Chevalier, Laboring Classes and Dangerous ClassesSPEAKING OF NINETEENTH-CENTURY FRANCE, Louis Chevalier traces the bourgeoisie’s elision of the working classes with the criminal classes, in which crime becomes either the representation of working class “failure” or “revenge” (396). Chevalier argues that working- class texts “recorded” their acquiescence to and acceptance of “a genuine fraternity of [criminal] fate” when they “described and celebrated [it] in verse” (397). Though a community of fate might inspire collective resistance, popular poetry and ballads, he confirms, reproduced metonymic connections between criminal and worker when “their pity went out to embrace dangerous classes and laboring classes alike. . . . One might almost say [they proclaimed these characteristics] in an identical poetic strain, so strongly was this community of feeling brought out in the relationship between the favorite subjects of working-class songs and the criminal themes of the street ballads, in almost the same words, meters, and tunes” (396) Acquiescence to or reiteration of worker/criminal equations established itself in workers’ views of themselves as “a different, alien and hostile society” (398) in literature that served as an “involuntary and ‘passive’ recording and communication of them” (395). Though I am investigating Victorian England, not nineteenth-century France, and though I regard the street ballads as popular texts which record resistance, not acquiescence, Chevalier’s work usefully articulates the predicament of class-based ideologies about worker and criminal which functioned similarly in Victorian England. More importantly, Chevalier acknowledges the complexity of street ballads as cultural texts..
4
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.
Texte intégralRésumé :
“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.
5
Liugaitė-Černiauskienė, Modesta. « Ballads in Oral and Written Tradition : Retrospective Research Survey ». Tautosakos darbai 55 (25 juin 2018) : 13–35. http://dx.doi.org/10.51554/td.2018.28497.
Texte intégralRésumé :
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.
6
Fals, Iwan. « Guitar versus tanks ». Index on Censorship 26, no 2 (mars 1997) : 74–75. http://dx.doi.org/10.1177/030642209702600224.
Texte intégralRésumé :
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
7
Teleutsia, Valentyna, Alla Pavlova, Liliia Sydorenko, Neonila Tilniak, Yuliya Kapliyenko-Iliuk et Natalia Venzhynovych. « Mode of Understanding the Terms "Concept" and "Folklore Concept" in Modern Humanities ». Studies in Media and Communication 10, no 3 (18 décembre 2022) : 40. http://dx.doi.org/10.11114/smc.v10i3.5832.
Texte intégralRésumé :
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.
8
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.
Texte intégralRésumé :
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.
9
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 (21 novembre 2007) : 77–93. http://dx.doi.org/10.1017/s0020859007003136.
Texte intégralRésumé :
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.
10
Love, Timothy M. « Irish Nationalism, Print Culture and the Spirit of the Nation ». Nineteenth-Century Music Review 15, no 2 (7 février 2017) : 189–208. http://dx.doi.org/10.1017/s1479409817000015.
Texte intégralRésumé :
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.
Thèses sur le sujet "Political ballads and songs – France"
1
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.
Texte intégral
2
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.
Texte intégral
3
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.
Texte intégralRésumé :
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.
4
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.
Texte intégral
5
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/.
Texte intégralRésumé :
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.
6
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.
Texte intégralRésumé :
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
7
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/.
Texte intégralRésumé :
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.
8
Hardwick, Victoria. « A legacy of hope : critical songs of the GDR 1960-1989 / Victoria Hardwick ». Thesis, 1996. http://hdl.handle.net/2440/18889.
Texte intégral
9
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.
Texte intégralRésumé :
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.
10
Yudkoff, Ambigay. « "When voices meet" : Sharon Katz as musical activist during the apartheid era and beyond ». Thesis, 2018. http://hdl.handle.net/10500/25340.
Texte intégralRésumé :
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)
Livres sur le sujet "Political ballads and songs – France"
1
Manfredonia, G. La chanson anarchiste en France des origines à 1914 : ("Dansons la Ravachole!"). Paris : L'Harmattan, 1997.
Trouver le texte intégral
2
Vignol, Baptiste. Cette chanson qui emmerde le Front national. Paris : Tournon, 2007.
Trouver le texte intégral
3
Songs of Irish rebellion : Political street ballads and rebel songs, 1780-1900. 2e éd. Dublin, Ireland : Four Court Press, 2002.
Trouver le texte intégral
4
American political music : A state-by-state catalog of printed and recorded music related to local, state and national politics, 1756-2004. Jefferson, N.C : McFarland, 2005.
Trouver le texte intégral
5
Degenhardt, Franz Josef. Kommt an den Tisch unter Pflaumenbäumen : Alle Lieder mit Noten bis 1975. Reinbek bei Hamburg : Rowohlt, 1986.
Trouver le texte intégral
6
Sarīyah, Rajab Abū. al- Ughniyah al-siyāsīyah al-jadīdah fī al-waṭan al-ʻArabī. [S.l : s.n., 1988.
Trouver le texte intégral
7
Robert, Frédéric. La Marseillaise. Paris : Imprimerie Nationale, 1989.
Trouver le texte intégral
8
Acton, R. Comic and sentimental lyrics. [Ottawa ? : s.n.], 1987.
Trouver le texte intégral
9
Gaudet, Bernard. Chansons politiques provinciales et fédérales. Montréal : [s.n.], 1997.
Trouver le texte intégral
10
Im Bernstein der Balladen : Lieder und Gedichte. Berlin : Propyläen, 2016.
Trouver le texte intégralChapitres de livres sur le sujet "Political ballads and songs – France"
1
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.
Texte intégral
2
Fox, Adam. « Ballads and Songs ». Dans The Press and the People, 306–48. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198791294.003.0009.
Texte intégralRésumé :
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.
3
« Political Broadsides ». Dans Popular Songs and Ballads of Han China, 82–99. University of Hawaii Press, 2019. http://dx.doi.org/10.2307/j.ctv9zcm2j.13.
Texte intégral
4
McIlvenna, Una. « Political Executions in Song ». Dans Singing the News of Death, 285–342. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197551851.003.0007.
Texte intégralRésumé :
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.
5
Morgan, Alison. « Introduction ». Dans Ballads and songs of Peterloo, 1–39. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784993122.003.0001.
Texte intégralRésumé :
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.
6
Morgan, Alison. « ‘Ye English warriors’ : radical nationalism and the true patriot ». Dans Ballads and songs of Peterloo, 65–92. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784993122.003.0003.
Texte intégralRésumé :
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.
7
Morgan, Alison. « ‘Those true sons of Mars’ : chivalry, cowardice and the power of satire ». Dans Ballads and songs of Peterloo, 150–93. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784993122.003.0006.
Texte intégralRésumé :
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.
8
Karlin, Daniel. « Introduction ». Dans Street Songs, 1–12. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198792352.003.0001.
Texte intégralRésumé :
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.
9
Millington, Chris. « The Battle for the Street ». Dans Fighting for France. British Academy, 2018. http://dx.doi.org/10.5871/bacad/9780197266274.003.0001.
Texte intégralRésumé :
This chapter examines confrontations between rival political activists in the street. Political activists regularly clashed with their opponents for the transient control of public space. Groups policed their own territory and invaded that of their enemy. Symbolic confrontations were frequent, and uniforms, insignia, posters and songs ensured that groups were ‘seen’ in enemy territory. These invasions frequently led to violence as activists fought off the intruder. A variety of weapons were used, from knuckledusters and knives to clubs and revolvers. Fighting in the street was interpreted according to conceptions of acceptable behaviour rooted in notions of manliness. The use of offensive violence was discouraged as behaviour unbecoming of a man. However, defensive violence, framed as a punishment, was permitted as a necessary corrective to the opponent’s loss of self-control.
10
Manning, Jane. « KEITH HUMBLE (1927–1995)Eight Cabaret Songs (1985–1989) ». Dans Vocal Repertoire for the Twenty-First Century, Volume 1, 135–38. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0039.
Texte intégralRésumé :
This chapter introduces eight cabaret songs by Keith Humble. These songs are quirkily original and distinctly offbeat. Humble has said that, rather than representing cabaret tradition, the pieces are redolent of the period in France just after the Second World War, when groups of artists engaged in political and existential discussion. The texts themselves concern the eternal themes of love and death. As may be expected, piano parts are especially striking and wide-ranging in character. The work’s history is somewhat chequered, however: Humble originally wrote five songs, but added others later, adjusting their order over time. The last is by far the most elaborate.