Issued also as Thesis (Ph. D.)--Columbia University. / "Bibliography of ballad operas": p. [237]-244. "General bibliography": p. [245]-250.

The Appalachian ballad tradition is alive among a new generation of singers, most of whom learned their songs directly from an oral tradition, either from older singers, or from recordings, or both. This two-disk album — a project in support of Great Smoky Mountains National Park — brings these powerful songs to people who might never have bought a recording or gone to a concert to hear these musicians. They will be delighted with the variety of music here, from the Old World as well as the New. Below is a list of a few of the tracks you can hear:Disc One"Barbry Allen" (Carol Elizabeth Jones), "Thomas the Rhymer" (Archie Fisher), "Lord Thomas and Fair Ellender" (Sheila Kay Adams), "Eggs And Marrowbone" (Jody Stecher and Kate Brislin), "The Sheffield Apprentice" (Martin Simpson, Andy Cutting, and Nancy Kerr), , "The Bold Lieutenant" (Alice Gerrard), "Lord Bateman" (Carol Elizabeth Jones), "The Farmer’s Curst Wife" (Donna Ray Norton), "Mr. Frog Went a-Courtin'" (Bill and the Belles), "Barbara Allen" (Rosanne Cash) / https://dc.etsu.edu/etsu_books/1159/thumbnail.jpg

京都大学 / 0048 / 新制・課程博士 / 博士(文学) / 甲第19350号 / 文博第691号 / 新制||文||623(附属図書館) / 32364 / 新制||文||623 / 京都大学大学院文学研究科文献文化学専攻 / (主査)准教授 廣田 篤彦, 教授 佐々木 徹, 准教授 森 慎一郎 / 学位規則第4条第1項該当 / Doctor of Letters / Kyoto University / DGAM

Carl Loewe (1796-1869) was a prolific composer of works for voice and piano with an output exceeding 400 pieces. Just as Schubert pioneered Lieder as a new genre of art music in the nineteenth century, Loewe can be credited for his comparable innovation with the ballad, a narrative song that depicts a story. Though Loewe is often considered a conservative musical figure in the nineteenth century, later romantic composers like Richard Wagner and Hugo Wolf held his ballads in high regard, as they show Loewe's compositional originality in boldly producing drama through the piano-singer format. This document displays how Loewe in his ballad cycle Gregor auf dem Stein, Op. 38 (1834) creates a continuous musical drama to enhance a theological legend. This work is an example of how Loewe foreshadows aspects of later German Romanticism, more fully realized by Wagner and Wolf, through use of musical and dramatic continuity, progressive tonality, motives, and declamatory vocal style.

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This thesis attempts a paradigmatic shift in the focus of ballad study towards embodiment, moving from ‘representation’ towards ‘experience’ and with an emphasis on ‘process,’ as opposed to ‘product.’ The originality lies in the development of a new approach which explores words, music and embodied aesthetic experience as they come together and create meaning in performance, conceived of as ‘presence’ (Porter 2009). Ideas from philosophy are connected with concepts from ethnomusicology and folklore and brought to bear upon broad issues in the study of expressive culture. While the focus here is on the ballad experience in a Scottish context, ultimately the questions asked attend to dimensions of experience that do not emphasise cultural-boundedness. The emphasis is not on my experience as a fieldworker, nor on fieldwork descriptions, but rather on the development of new theoretical methodologies that can be extended and applied to other cultural forms. To that end, I am little concerned with texts, variants and versions, transcriptions and collections which traditionally constitute the subject matter of ballad studies. What is presented is a convergence of contemporary disciplinary approaches, pushing the boundaries of the existing framework of ballad and folksong studies to include dimensions of cultural experience rarely considered in this field. Working within the wider interpretative framework of hermeneutic phenomenology, theories of embodiment are used as a means to introduce ideas from embodied cognition. The development of ideas is concerned with describing how our embodied experience of the world informs the processes of meaning-making, how human cognitive capacities are at work in the experience of ballad singing and how the structure of the ballad reflects and shapes these capacities. Embodied philosophy and contemporary theories of metaphor are central in this endeavour. Ultimately, this work seeks to find a legitimate way of talking about the ephemeral, intangible yet real quality of embodied aesthetic experience—the shivers and chills of the Maysie—that avoids metaphysical explanations and that makes sense in a secular, humanistic framework. The aim is not to demystify experience in a reductionist sense, but to offer an interpretation that is less about ‘transcendence’ and more about the creative processes present.

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Book Summary: Each print volume in this long-standing series profiles approximately four to eight literary figures who died between 1800 and 1899 by providing full-text or excerpted criticism taken from books, magazines, literary reviews, newspapers and scholarly journals. Among the profiled in this volume are: Jane Austen, Nathaniel Hawthorne, Washington Irving, Thomas Percy.