Minstrelsy Of The Scottish Border Consisting Of Historical And Romantic Ballads Collected In The Southern Counties Of Scotland With A Few Of Modern Date Founded Upon Local Tradition
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Author | : Walter Scott |
Publisher | : |
Total Pages | : 466 |
Release | : 1806 |
Genre | : Ballads, English |
ISBN | : |
Author | : Various Authors |
Publisher | : Good Press |
Total Pages | : 1829 |
Release | : 2023-12-24 |
Genre | : Literary Collections |
ISBN | : |
English and Scottish Ballads (Vol. 1-8) is a comprehensive collection of traditional folk songs and ballads from England and Scotland. These volumes showcase the rich oral tradition of storytelling and lyrical beauty found in the balladry of the British Isles. The ballads cover a wide range of themes including love, betrayal, murder, and the supernatural, providing a glimpse into the lives and beliefs of the common people of the past. The language is simple yet powerful, drawing the reader in with its vivid imagery and emotional depth. The collection serves as a valuable resource for those interested in traditional folk music and literature, as well as for scholars studying the cultural history of England and Scotland. Various Authors have meticulously compiled and preserved these ballads, ensuring that they continue to be appreciated and enjoyed for generations to come. Their dedication to this task reflects a deep appreciation for the cultural heritage of the British Isles and a commitment to preserving these timeless works of art. English and Scottish Ballads (Vol. 1-8) is a must-read for anyone seeking to immerse themselves in the beauty and storytelling tradition of English and Scottish folk music.
Author | : Francis James Child |
Publisher | : |
Total Pages | : 320 |
Release | : 1898 |
Genre | : Ballads, English |
ISBN | : |
Author | : Francis James Child |
Publisher | : Cambridge University Press |
Total Pages | : 301 |
Release | : 2014-11-20 |
Genre | : History |
ISBN | : 1108076386 |
Published 1882-98, this ten-part work by Harvard's first professor of English became an essential resource for scholars and folklorists.
Author | : Silke Stroh |
Publisher | : Northwestern University Press |
Total Pages | : 551 |
Release | : 2016-12-15 |
Genre | : Literary Criticism |
ISBN | : 0810134047 |
Can Scotland be considered an English colony? Is its experience and literature comparable to that of overseas postcolonial countries? Or are such comparisons no more than patriotic victimology to mask Scottish complicity in the British Empire and justify nationalism? These questions have been heatedly debated in recent years, especially in the run-up to the 2014 referendum on independence, and remain topical amid continuing campaigns for more autonomy and calls for a post-Brexit “indyref2.” Gaelic Scotland in the Colonial Imagination offers a general introduction to the emerging field of postcolonial Scottish studies, assessing both its potential and limitations in order to promote further interdisciplinary dialogue. Accessible to readers from various backgrounds, the book combines overviews of theoretical, social, and cultural contexts with detailed case studies of literary and nonliterary texts. The main focus is on internal divisions between the anglophone Lowlands and traditionally Gaelic Highlands, which also play a crucial role in Scottish–English relations. Silke Stroh shows how the image of Scotland’s Gaelic margins changed under the influence of two simultaneous developments: the emergence of the modern nation-state and the rise of overseas colonialism.
Author | : Various |
Publisher | : Library of Alexandria |
Total Pages | : |
Release | : |
Genre | : |
ISBN | : 1465505148 |
Author | : |
Publisher | : |
Total Pages | : 1002 |
Release | : 1803 |
Genre | : Books |
ISBN | : |
Author | : South Kensington Museum. Dyce collection |
Publisher | : |
Total Pages | : 458 |
Release | : 1875 |
Genre | : Drama |
ISBN | : |
Author | : Matthew Gelbart |
Publisher | : Cambridge University Press |
Total Pages | : 265 |
Release | : 2007-10-11 |
Genre | : Music |
ISBN | : 1139466089 |
We tend to take for granted the labels we put to different forms of music. This study considers the origins and implications of the way in which we categorize music. Whereas earlier ways of classifying music were based on its different functions, for the past two hundred years we have been obsessed with creativity and musical origins, and classify music along these lines. Matthew Gelbart argues that folk music and art music became meaningful concepts only in the late eighteenth and early nineteenth centuries, and only in relation to each other. He examines how cultural nationalism served as the earliest impetus in classifying music by origins, and how the notions of folk music and art music followed - in conjunction with changing conceptions of nature, and changing ideas about human creativity. Through tracing the history of these musical categories, the book confronts our assumptions about different kinds of music.
Author | : Roger Hansford |
Publisher | : Routledge |
Total Pages | : 340 |
Release | : 2017-03-16 |
Genre | : Music |
ISBN | : 131713530X |
This new study of the intersection of romance novels with vocal music records a society on the cusp of modernisation, with a printing industry emerging to serve people’s growing appetites for entertainment amidst their changing views of religion and the occult. No mere diversion, fiction was integral to musical culture and together both art forms reveal key intellectual currents that circulated in the early nineteenth-century British home and were shared by many consumers. Roger Hansford explores relationships between music produced in the early 1800s for domestic consumption and the fictional genre of romance, offering a new view of romanticism in British print culture. He surveys romance novels by Ann Radcliffe, Matthew Lewis, Sir Walter Scott, James Hogg, Edward Bulwer and Charles Kingsley in the period 1790–1850, interrogating the ways that music served to create mood and atmosphere, enlivened social scenes and contributed to plot developments. He explores the connections between musical scenes in romance fiction and the domestic song literature, treating both types of source and their intersection as examples of material culture. Hansford’s intersectional reading revolves around a series of imaginative figures – including the minstrel, fairies, mermaids, ghosts, and witches, and Christians engaged both in virtue and vice – the identities of which remained consistent as influence passed between the art forms. While romance authors quoted song lyrics and included musical descriptions and characters, their novels recorded and modelled the performance of songs by the middle and upper classes, influencing the work of composers and the actions of performers who read romance fiction.