Tesi sul tema "Bedouin ballads and songs"

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.

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.

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.

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.

Although controversial, the theory that the Romancero (ballad genre) resulted from the disintegration of cantares de gesta in the late Middle Ages is generally accepted in current Spanish literary scholarship. The romances (ballads) based on epic themes of Castilian history occupy a key position in this theory, since they are considered to be the oldest and the closest to the epics from which the Romancero originated. In an attempt to justify or to disprove this claim, the present study investigates the thematic contents of the romances viejos based on Castilian subjects. Utilising the edition of old romances gathered by Ferdinand Wolf and Conrad Hofmann in their Primavera y flor de romances, these romances are analysed, and compared on the one hand with the extant epic poems, and on the other with the chronicle texts in which poems no longer extant were prosified. The romances chosen for analysis are from the cycles of the following heroes: Bernardo del Carpio (Chapter I), Fernán González (Chapter II), Infantes de Lara (Chapter III) and El Cid (Chapters IV-VII). The cycle of El Cid is divided into the separate categories of Mocedades de Rodrigo (Chapter IV), the partition of the kingdoms and resulting fratricidal wars (Chapter V), the siege of Zamora (Chapter VI), and the conquest of Valencia and punishment of the Infantes de Carridn (Chapter VII). The evidence acquired by this reanalysis of the romances and their possible sources allows the following conclusions: 1. There is a diachronic continuity in the elaboration of epic texts, as seen in the romances of Fernán González, the Infantes de Lara and the Cid series. Some of these reelaborations were in all probability in prose while others were in verse. In the latter case, a tendency is demonstrated toward the restriction of the narrative to a few popular motifs, and in particular that of the confrontation between king and vassal. The authors of the romances took up this confrontation motif in creating some of the most popular ballads of the genre. 2. There is a diachronic continuity in the transmission of the original, unelaborated epic material, both in oral and in written form. This conservatism is seen in the romances of Bernardo del Carpio. and in those dealing with the partition of the kingdoms and the siege of Zamora. 3. There was clearly erudite participation of chroniclers and others in the reworking of epic material, as seen in the romances of the Infantes de Lara and the Cid series. Some of this reworking involved the favouring of certain epic poems which best reflected the chroniclers' historiographical points of view, but in other cases these unknown authors even created new episodes or reinterpreted ambiguous points to give a new turn to the old narratives. 4. In the process of transmission of epic narratives, some prose texts were written by adapting chronicle material to make it more appealing to a popular audience. The present investigation has found evidence of the creation of many old epic romances by resort to these popular adaptations. Thus, chronicle sources appear to be of greater importance in the origin and development of the romances viejos, and in the transmission of epic themes, than current theory allows.
Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate

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.

Thesis (Ph.D.)--York University, 2004. Graduate Programme in History.
Typescript. Includes bibliographical references (leaves 312-337). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ99170

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.

Defence date: 29 September 1995
Examining 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

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.

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)

The research is an Afrocentric engagement that analyses selected songs by Tongai Moyo and Hosiah Chipanga in post-independence Zimbabwe. The study is informed by Afrocentricity, which provides the theoretical anchorage to the exposition and elucidation of the pursuit for independence, liberation and freedom of Zimbabweans in the post-independence era. The study analyses selected sungura songs composed and sung by Hosiah Chipanga and Tongai Moyo in post-2000 era. The study indicates that post-independence Zimbabwe of 2000 to 2010 reflects a decade of crisis. The exposition unfolds through a critical exegesis of selected songs by these sungura artists. The two sungura musicians are among the leading musical voices in Zimbabwe. The study is largely qualitative in nature and used interviews and questionnaires to solicit information from research participants. Respondents comprise musicians, music producers and academics in the Zimbabwe. The study stimulates more interest and research in sungura music as well as illuminating the significance of their messages to ongoing debates on the Zimbabwean crisis/crises thereby establishing the relationship between music and politics. This position is made against the backdrop of their commitment and courageous efforts by such protest musicians to comment on ‘big’ political and economic issues seriously affecting the performance of Zimbabwean economy. The study also establishes that cronyism, patronage and corruption have become major industries of the day in Africa. Through fighting for the voiceless masses, the study argues that Zimbabwe is faced by the crisis of governance and the nation has taken the medals of humiliating its own people. Pertaining to the leadership crisis in Zimbabwe, the study also shows that musicians who include Hosiah Chipanga and Tongai Moyo insinuate that the deep seated Zimbabwean challenges are a manifestation of a nation that is parentless. In their protest music, the artists reiterate that poverty, hunger, diseases and other forms of sufferings that the country encountered and continue to face are a sign of a country that is an orphan implying the dearth of people centred leadership. Additionally, findings from the study show that the land issue is one of the commonly identified factors that are ascribed to partial independence in Zimbabwe translating into crisis. The land question invited attention from Hosiah Chipanga as reflected in his post-2000 music where he suggests that Zimbabweans were to a larger extent betrayed by ZANU (PF) leadership.
Linguistics and Modern Languages
D. Phil. (Languages, Linguistics and Literature)

Indiana University-Purdue University Indianapolis (IUPUI)
This thesis is a study of how people in the nine counties of central Indiana learned, appreciated, and performed music from 1800 to 1840. A concluding proposal for a public history application of this research is included.