Ballads

A L Lloyd was one of the most significant figures of the post-war folk music revival in Britain. He combined a rich and varied life experience with an interest in traditional song that was at once practical, historical and theoretical. He was a self-made intellectual with a facility for languages. His life encompassed working on an Australian sheep farm, work as a sailor, a script-writer and broadcaster, translator, essayist and journalist, an editor and collector, a film-maker (notably with Barry Gavin), a singer, an occasional actor (he was the shanty man in John Houston's 1956 film of Moby Dick) and, quite late in his life, a part-time university teacher. Early on, he became a socialist and was a loyal member of the Communist Party for most of his adult life. 1 His partner for many of his assignments with the magazine Picture Post, the award-winning photographer Bert Hardy, described Lloyd as 'one of the most brilliant men I have ever met '. 2 He was wholly or partly responsible for significant works on English folk song. The Singing Englishman was a rather hurriedly produced piece, written under wartime conditions, which appeared in 1944. In 1959, he co-edited The Penguin Book of English Folk Songs with the composer Ralph Vaughan Williams. 4 Vaughan Williams had been an active collector, a friend and collaborator of Cecil Sharp's during what, in retrospect, was a golden age of folk-song collection in the decade before the First World War. This collection became hugely influential on numbers of young revivalists seeking to discover obscured English musical traditions. A more considered book, Folk Song in England, was published in 1967, and represents a major accomplishment of the first stage of the post-war folk-music revival. 5 He was also, during the 1950s and 60s, a director of Topic Records which set out on a major project to issue recordings of both revivalist and 'traditional' performers and continues to do so (under a different management) to the present day.

An Evaluation for The Ballads Measured With 23 and 30 Bars Taking Partin Trt Turkish Folk Music’s Repertoire in Consideration of The Turkish Music’s Usûl Tradition. The concept ‘usûl’ is one of the two main elements of the music. In the system of ‘meşk’ which is a basic education model of the Turkish music, usûl, has a prominent role in the process of handing down the Turkish music to the next generations. Although Turkish Folk Music and Classical Turkish Music are nourished from the same source, the works produced are in different kinds and forms. In our study, the different perspectives in the ‘usûls’ of Turkish Folk Music and Classical Turkish Music have been revealed and at the same time, the role and the importance of ‘usûl’ in a consistent sense of education and performance have been examined. The current perception of ‘usûl’  in Turkish FolkMusic cannot express and contain the tradition enough, which also affects the performance and education in a negative way. As a solution, it has been tried to present a suggestion by taking into consideration of the necessity of expressing and performing the ballads within the frame of Turkish Music’s ‘usûl’ tradition. Within this context, ensuring the integrity by reading music can only be possible with the ‘usûl’. In this study, the necessity of developing the common theory of‘usûl’ has also been emphasized. The notes of the ballads measured with 23 and 30 bars taking part in TRT Turkish Folk Music’s repertoire have been examined, and the measuring errors have been taken into consideration with the underlying reasons. In addition to that, it has been tried to account for all these errors and results. The ballads mentioned above are rewritten again in accordance with the findings we obtained. Therefore, a new ‘usûl’ has been suggested to Turkish music ‘usûl’ corpus.

This is the draft of an article that has just been published in the journal of the Cowper and Newton Museum.  It is a brief survey of the song repertoires of lacemakers in England, France and the Low Countries, and the links between them.  For serious study of lace tells, turn to Gerald Porter or Isabelle Peere.

Já foi dito que a forma principal de veiculação dos romances ibéricos medievais era o canto, não a escrita (CATALÁN, 1978; DI STEFANO, 1972; MIRRER, 1986; PETERSEN, 1972; ZUMTHOR, 2007). De fato, Zumthor (2007) enfatizou que do performer requeria-se a alteração constante da letra do romance para adequá-la à audiência. Não espanta, portanto, que continuidade e ruptura sejam fenômenos ubíquos e complementares na tradição oral dos romances ibéricos - e em seu estudo. Este artigo investiga três romances Luso-Brasileiros e contribui ao estudo dos romances medievais em duas frentes: de um lado, ao dialogar com estudiosos da tradição espanhola, inclui o estudo dos romances lusitanos na esfera mais ampla da produção ibérica. De outro, amplia as preocupações da tradição crítica espanhola ao investigar o papel que o componente temático tem, ao lado do da estrutura narrativa, quando se avalia se diferentes textos podem ser considerados romances distintos ou versões de um mesmo romance. Nos textos analisados, observou-se que embora os papéis actanciais dos sujeitos narrativos mantenham-se estáveis, o tratamento dado a dois dos temas abordados – “natureza/humano” e “mulher” – apresenta variações que interferem na organização narrativa dos romances.

En contra de lo apuntado en diferentes momentos del pasado siglo por intelectuales como Alejo Carpentier, Sócrates Nolasco o Mercedes Díaz Roig, acerca de un área compartida de geografía folclórica común para las Antillas de habla hispana que comprendería los romances documentados en Cuba, República Dominicana y Puerto Rico, el estudio comparativo de los actuales corpus romancísticos cubano y dominicano incluido en este trabajo refuta dicha hipótesis, infiriéndose del mismo que tanto el romancero cubano como el dominicano se distinguen por identidades nacionales específicas propias que no podrían encuadrarse en una geografía folclórica común. Ambos corpus en su conjunto presentan más diferencias que coincidencias, empezando por no compartir el mismo repertorio de temas. Incluso el análisis particular de los que ambos corpus comparten revela notables diferencias. En el presente trabajo se analizan pormenorizadamente cinco de ellos, llevando a cabo un estudio comparativo específico para corroborarlo, con la conclusión de que incluso romances existentes en ambos corpus no compartirían una misma geografía folclórica sino que constituirían subtipos de ámbito geográfico nacional con identidad propia, con las versiones quisqueyanas del tema de Gerineldo como el mejor y más evidente ejemplo de estos subtipos nacionales específicos.

From the Preface: "In the modern world artistic creativity necessarily implies originality; as a rule, we have great difficulty assessing the works of an age in which such notions were for the most part still quite distant. The heroic sagas taken up in the present volume, the so-called fornaldarsögur (literally, 'sagas of antiquity'; singular fornaldarsaga), reflect a different kind of literary artifice, a kind of creativity practiced in medieval Iceland which drew heavily on commonly known and widely used narrative traditions. It should not be assumed, however, that genius and artistic excellence do not enter into a discussion of the legendary fiction of thirteenth-, fourteenth-, and fifteenth-century Iceland -- they do, but the value modern readers place on the originality and uniqueness of a character or an episode makes a very poor standard for evaluating the literary merits of such texts as those taken up in the chapters that follow. One consequence has been that these tales are often relegated to the status of "poor cousins" within the family of Icelandic literature; another is that they are more likely to yield results to extraliterary consideration than to conventional literary criticism."

From the Introduction: "Almost all scholarly treatments of the sagas can be characterized as gravitating toward one of two poles, namely, belief in either oral or written sagas. Of course, such terms as the 'oral saga' or the 'written saga' connote much more than the simple equation of the medieval texts with the acts of speaking or writing. The question might be phrased as follows: is the background to the sagas' art to be conceived of as native and essentially spoken (or verbal, or performed, or recited), or is the background based on foreign models in which the key aspects of composition have been shaped by literacy? Neither of these positions is absolute: proponents of the oral saga readily concede that the available works have come down to us in a written medium that cannot have failed to impart something to the text, and even the most strident advocates of the written saga will agree that the texts are frequently informed by oral traditions. In general, these orientations reflect preoccupations with "the folk" and "the court." In the history of the field, these two views have been called many things, but while the labels change, the positions shift, and the interpretations their adherents place on the evidence vary, the divisions (if not their centers of gravity) are not much different now from what they were at the turn of the century…"

Alfred Noyes’s “The Highwayman” (1906) and Federico García Lorca’s “Romance sonámbulo” (1928), two early twentieth-century ballad poems, serve as literary vessels for the collective memory of historical periods and share aesthetic and narrative similarities. Common images and colors (red, green) also illustrate both texts. The shared imagery calls attention to the ballads’ roles in preserving and transmitting collective memories. This study references the way that ballads stabilize in cultural memory, in line with David Rubin’s assessments of memory and literature in "Memory in Oral Traditions" (1995), as well as the studies of other scholars (e.g., Benjamin, Boyd, Connerton).

In his poetic practice, Griboedov successfully followed the principles he introduced in his critical response to Gnedich. To be precise, he used all the available literary context as a resource to describe characters and situations. It is interesting to analyse the connection between different ballad plots represented in this comedy. Griboedov takes the image of a sentimental man from «Людмила», a motif of a dead man in a dream from «Светлана», and a motif of playing music at night from «Эолова арфа», the motifs of a «ball of the dead» from a wide range of resources. That brings us to the conclusion that the scheme of the opposition between the Archaists and the Innovators offered by Tynianov looks like an example of extreme simplification that is rather harmful than beneficial. Facts are presented so as to give an impression that the debate at the beginning of the 19th century was about different genres and words: the Archaists liked one genre, while the Innovators liked another one. Eventually, one gets an impression that the development of the Russian literature was determined by Katenin’s «летучая сволочь» [flying beast], which is as funny as, according to Leo Tolstoi, thinking that the outcome of the Battle of Borodino was predetermined by a valet who forgot to give Napoleon his warm boots. In fact, as we can see, it was not certain genres or expressions that Griboedov objected to. He objected to the very fact of separating the word from the subject it defined by some sort of stylistic prism.

Social and cultural historians and literary scholars have made substantial use of more generic and less time-sensitive broadside ballads, for example on crime or gender relations, while ballads on ‘affairs of state’ have been largely eschewed by scholars of popular political history, despite the growing availability of ballad literature, and their great potential as a teaching and research resource. This critical bibliography seeks to make these texts more accessible by providing a systematically and rigorously researched bibliography of all recorded and published broadside ballads on affairs of state between the outbreak of the Bishops Wars in 1639 to the Glorious Revolution in 1689. Arranged chronologically, the bibliography locates, dates and fully indexes more than 1050 titles - c. 3100 ballad sheets - drawn from around 10,000 extant sheets held in libraries in the UK and US. The entries provide reliable earliest possible publication dates (in many cases for the first time). Library and shelf mark locations for all publicly available editions and copies of each title, in UK and US libraries are given and contextualizing notes are provided throughout. There are indices for authors, publishers and subjects, including all names of people and places mentioned in the texts.

En este trabajo se vuelve sobre el "Romance de la muerte de la duquesa de Bragança" para reexaminar el pionero análisis de Pedro Ferré a la luz de un nuevo testimonio impreso en uno de los pliegos sueltos hallados en Perugia. En primer lugar, se presentan los hallazgos de los investigadores que se han acercado previamente a este romance histórico noticiero que narra el asesinato de la hija del duque de Medina-Sidonia a manos de su esposo en 1512, en principio por cometer adulterio con un paje. En segundo lugar, se describen los distintos testimonios (todos impresos quinientistas) conservados del romance, que presentan dos versiones con notables diferencias en cuanto a las escenas y numerosas variantes. En tercer lugar, se recuerdan los hechos históricos y los avatares de los protagonistas del romance, así como lo que se sabe del asesinato por la inquisición que se llevó a cabo en el momento. Por último, se analiza la aparición en el romance de dos personajes, el paje y el duque, para contrastar cómo se les representa literariamente con los hechos históricos y advertir así la intencionalidad política y la actitud hacia uno y otro que esconde el poema.

十六世紀半ばから十七世初頭にかけ、日本イエズス会により、日本語の教理書が出版されたということは周知の通りだ。世俗のヨーロッパ文学である『イソップ物語』の和訳、そして天草版『平家物語』、『太平記抜書』の存在もよく知られている。しかし、日本語で書かれたオリジナルのキリスト教説話が現存するということは案外知られていない。近年、このテキスト群を「異文化接触」というレベルで取り上げた研究が現れているが、漢訳仏典や漢籍の影響を受けた『日本霊異記』『今昔物語集』などとは対照的に、室町末期にラテン語文脈から国語に翻案されたキリスト教文学は、残念ながらこれまで国文学として扱われてこなかった。その理由をここで詳しくは追究できないが、日本精神というものが（漢文脈との関連性ではある程度まで認められている一方で）キリスト教との関係性については根本的に異質で相容れないものと一般的には理解されていることが、その背景にあると考えられる。しかし、キリスト教説話を聞いた織豊期の日本人がこのように日本精神とキリスト教を両極的なものとして捉えていたということは、資料からは読み取れない。本稿では、キリスト教も日本精神も信仰していない筆者が日本中世キリスト教の代表的な説話集をバレト写本という資料の中から取り上げ、その原典が何であったかを明らかにし、さらに、同時代の日本文学との関係性を探る。その結果、この説話集は当時の武士階級によって評価された軍記・語り物文学、取り分け幸若舞と最も関連性が深いということを示す。

Von dem Eisenbahnunglück, das ihn zu seiner "Brück' am Tay" anregte, erfuhr Theodor Fontane sehr wahrscheinlich aus der Vossischen Zeitung. Das ist bekannt, doch seit Walter Keitel einen Artikel aus diesem Blatt recht willkürlich selektiert und vage psychologisierend zur "Quelle des berühmten Gedichts ‚Die Brück am Tayʻ" erklärt hatte, 1 ist niemand, soweit ich sehe, solchem Hinweis konstruktiv-kritisch gefolgt, um jene Ballade entschieden von ihrer journalistischen Vorgeschichte her in den Blick zu nehmen. 2 Dies werde ich versuchen; ich 

There is a general skepticism about the possibility of establishing parallels between the literary ballad and Chopin's ballads. Even so, the evidence about a possible relationship between certain poetic ballads and the only four works by the composer (apart from his songs) that may have extra-musical content are enough to attempt an approach between both worlds. For this it will be necessary to know some of the life events of its author, as well as to make a foray into the world of the literary ballad and its most important Polish representative, Adam Mickiewicz, all against the background of the historical events that surrounded their protagonists in the second quarter of the 19th century, since both artists made the same geographical journey that, starting from Poland, reached Paris, also passing through other European cities.

In this article, I return to the history of the collection of songs exhibiting the ‘Building Sacrifice’ story-pattern in BCMS-speaking regions to explore the ethno-national manipulations to which the song has fallen victim over the last 200 years. I highlight three critical problems of past folklore research that allowed folklorists, ethnologists and others to draw these materials into such contentious misuse, offering a corrective for each that allows for a clearer understanding of the true diffusion and history of this oral tradition in the region.

パトリック・シュウェマー『語り物末流の研究』プリンストン大学博士論文、２０１５年

第一巻　『相模川』の研究：17世紀幸若舞曲の展開
１．危険な「棚飾り」：プリンストン大学図書館所蔵『相模川』絵巻の研究
２．本居宣長以前の「もののあはれ」：古浄瑠璃『梶原最期しづかあづまくだり』の研究
３．反体制文学から徳川幕府の式楽へ：能『相模川』の研究
第二巻　バレト写本の研究：日本文学としての、日本語によるキリシタン文学
４．秀吉の伴天連追放令への文学的な反発：『日本に現れた十字架物語』の研究
５．イエズス会による幸若言説の摂取：『受難物語』の研究
６．キリスト両性説と身内敬語、奪格のヨリと羅文訓読：『受難道具問答』の日本語について

第一巻ではそれぞれ、（１）近世大名の社会資本としての豪華絵巻、（２）町人階級の娯楽としての古浄瑠璃、（３）徳川幕府の式楽としての能を、『相模川』という幸若末流の語り物の三バージョンを通して、三章で追究します。第二巻では、第一巻で取り上げた「純日本文学」を比例として、バチカン文庫所蔵のバレト写本より三編を取り上げ、また三章でそれぞれ分析します。まず（４）西・日・葡・伊、諸国語による諸本の伝存する、日本を舞台とした奇跡譚を扱い、予言と成就の順番の整理過程が覗えることから日本語版がもっとも早い詞章を残していることを論証し、イエズス会副管区長コエリョによる奥書から、秀吉の破天連追放令に対するコエリョの九州侵略作戦を支えるための日本向けのプロパガンダとして書かれたということを明らかにします。次に（５）『イエス・キリストのご受難物語』を中心に、幸若舞などの語り物文芸との語誌、常套句、テーマ上の共通点から、語り物文芸のもう一つの末流であることを証明します。最後に（６）『受難道具問答』を中心に、聖母マリアがイエスに対して身内敬語を用いる模様を論じます。なお、神学的解説文では、受身動詞の主語を「—より」で示し、受身の助動詞には「る・らる」ではなく「給ふ」を使うという独特のあり方がイエズス会の羅日動詞活用表にちょうど合致することから、漢文訓読の類似解読法として「羅文訓読」が形成しつつあったということを指摘します。

This dissertation is a transversal study of changes undergone by the kōwaka ballad during Japan’s transition from the middle ages of civil war, free exchange with Asia, and European contact, to the orderly domestic and foreign relations of the Edo period. As the kōwaka, which in the sixteenth century had rivaled the noh theatre for warrior patronage, began to change medium, format, and sociopolitical context in the seventeenth century, the traditional view is that it “quickly deteriorated once the samurai began turning to urban fads and foppery.” (Araki 1964) However, my materials tell a different story. Each chapter grows from my transcription, edition, and translation of a previously-undiscussed artifact. An illustrated handscroll of a latter-day ballad in Princeton’s library shows how that format was used for political commentary by Kyoto book craftspeople and their warrior-bureaucrat patrons in the time of Edo’s ascendancy. A libretto held in Paris adapts the same ballad to the early puppet theatre, this time making the main characters female and intensifying the melodramatic sentiment that appealed to the urban commoner class created by Kyoto’s new monetized economy. A noh play extant in three libretti in Tokyo rewrites the same story as an unproblematic paean to shogunal authority, while nevertheless displaying a critical consciousness of the working of ideology. In Volume Two, I introduce three pieces of Jesuit missionary literature in Japanese from a 1591 manuscript in the Vatican Library, whose vocabulary and formulae borrow heavily from the kōwaka. A miracle story set in Japan bears a colophon suggesting its function as a polemic against Hideyoshi’s expulsion edict. A ballad of The Passion of the Christ displays Japanese Jesuit appropriation of kōwaka discourse in its most developed extant form. A devotional meditation on the Instruments of the Passion grapples with a poetic paradox created by the role of honorifics in Japanese, while a theological postscript is rendered in a formulaic, Luso-Japanese discourse created on analogy with Sino-Japanese. Together, these new texts reveal not the kōwaka’s death but its diffusion and renewal along many cultural trajectories during Japan’s transition to early modernity.

Walter Benjamin says ”All great works of literature either dissolve a genre or invent one". I suggest that Keats’ “La Belle Dame Sans Merci” and Coleridge’s “The Rime of The Ancient Mariner” do both. The poems are not only related to their genre but they also play with it in various ways. With the help of the experimental success of Coleridge and Wordsworth in Lyrical Ballads, this paper will argue how the poems of Coleridge and Keats connect, break and play with their genre. Their symbolism and the creation of the sense of mystery will be one of the arguments to be opposed to the accepted “low artistic value” of ballads. While “La Belle Dame Sans Merci” and “The Rime of The Ancient Mariner” are in a harmony with their genre in their form, style and subject matters, the poems also have more to show besides the basic characteristics: they are able to break the accepted simplicity of the genre and be considered as “high art” in our minds.

This is the draft of a chapter for the book 'European Street Literature' (Cambridge Scholars, 2019), edited by Dave Atkinson and Steve Roud.

Compared with Spain or Germany, France, or at least the French-speaking parts of that country, does not possess a very rich ballad tradition.  Inspired by Breton successes, French folksong collectors actively searched for ballads throughout the second half of the nineteenth century, but the harvest was meagre.  Lyric song was the prevailing genre.  This absence has long been remarked and has been the subject of scholarly investigation.  However, perhaps the most plausible explanation is the relative scarcity of broadside ballads.  This is not to deny that broadside ballads have a long history in France, with famous collections surviving from the sixteenth century.  The same is true of other other genres of cheap print.  Before the French Revolution, Parisian streetsingers congregating around the Pont-Neuf were famous for their songbooks or ‘garlands’, while in other cities songbooks were produced for carnival.  In the smaller towns, marketplace-singers relayed news and, in particular, sensational crime stories, while others sold religious knicknacks.  Provincial print houses, particularly in Troyes and Rouen, were famous for their chapbooks (known in France as ‘la bibliothèque bleue’) and almanacs; these were carried to every part of the countryside by pedlars.  Therefore, there was clearly a market for ‘street literature’.  However, whereas in England text dominated the single-sheet print, in France it was the image that mattered.  Every region had its own imagists, although by the mid-nineteenth century such production had been concentrated in eastern France.  These highly coloured images were often accompanied by songs, but songs were secondary.  The reasons for this preference lie both in the specifics of production (the makers of woodcut images originated in the card-making industry, rather than printing), and consumption.  Images, especially religious images, were supposed to do work for their consumers; they watched over their belongings and provided blessings for the household.  The songs that accompanied images certainly influenced popular song traditions, but because the production of coloured images was more expensive and print runs longer, producers tended to play safe and avoid new material.  Censorship also encouraged conservatism.  Songs on a single sheet, known as ‘canards’ continued to be sold by marketplace singers, but the ‘canard’ was considered a low genre, and marked by its own conventionalism, in that most songs were sung to just one tune (Fualdès, or Le Maréchal du Saxe).  Popular aesthetics were more stimulated by the visual than the aural in France.

_The Oral and Written Traditions of the Exemplum mirabile’s Sujet_
The most famous exemplum of the Érdy codex is the Exemplum mirabile, which tells the story of a young lord who left his home to visit Paradise and after 300 years returns to his castle and reports on his experiences. The article examines the oral and written traditions of this exemplum type, starting with the narratological analysis of the codex’s variant, then proceeds to the examination of a Latin variant (Biblioteka Raczyńskich, Cod. 173) which is the closest version to the text of the Hungarian manuscript. The third part of the paper discusses the relations between the sujet of this exemplum and a Hungarian folk ballad, the so-called Júlia szép leány (The virgin taken to heaven). In the European tradition this story has several variants in verse, of which a German song is the most similar to the medieval exemplum. This German variant is known in the folklore of the Transylvanian Saxons; thus it may have influenced the tradition of the Hungarian folk ballad. The final part of the paper traces the sources of a motive in another Hungarian folk ballad (the ballad of Kőmíves Kelemenné; The inmured wife) that also could have been affected by medieval preaching practice.

A fairly recent mammoth article on the dating of Draumkvaede (TSB B 31, NMB 54) by Bengt R. Jonsson, a prominent scholar of balladry, sets off by stating the fact that Draumkvaede has been studied, analysed, and commented upon more intensively than any other Scandinavian ballad, and that many of the contributors to this discussion lack a more general familiarity with the ballad genre and its specific problems and methods. 1 I will begin by admitting that this description fits the present contribution only too well. It is therefore not without doubts and hesitation that I have decided to venture out into the weird and wonderful world of Draumkvaede scholarship.

In addition to its artistic value in terms of structure and content, texts formed in an oral culture environment are also to record individual and social events. Particularly verse types are one of the forms of recording of verbal memory. In this framework, folk literature texts in the tradition of minstrelsy in Turkish cultural history reveal important data in order to understand and interpret the past. One of them is the type of ballad. In the minstrel tradition of poetry, the ballad is a genre created around an event or subject that concerns society and performed with traditional melodies. The ballads, which are generally sung in the form of kosma verse, are the longest genre of minstrel poetry and are shaped around an event. These texts can also be read as oral history text. In this context, the text of the folk song entitled “The Enemy Cannon Explode in Karadağ” is a ballad that was said to increase the motivation of the soldier by Bardızlı Âşık Nihanî, a minstrel who participated in the National Struggle. After the 93 War (1877-1878), Kars was left to the Russians with Ardahan and Batumi and remained in the hands of the Russians and the Armenian gangs they placed for more than forty years. The troops led by Deli Halit Pasha turned to Kars, which was left to the Armenian gangs by the Russians after the Bolshevik Revolution after Erzurum and Artvin were cleared of the gangs. This epical folk poem, also known as Nihanî's “Vurun Aslanlarım”, “Vurun Evlatlarım”, was sung at the closing of the minstrel chapters, entered in the repertory records, became folk song over time and started to be sung in radio television programs. In the becoming folk song process, different interventions such as changing the words, removing some names, especially shortening are observed. In this study, the determined variants of the work will be compared, the reasons for changing will be discussed, and contextual interpretations based on oral history will be made. In addition, the effect of interventions on the text will be evaluated by addressing the verbal memory of people and places such as Kars and its affiliated places, Âşık Nihanî, Deli Halit Pasha, enemy gangsters / commanders and ensuring memory transfer via folk songs.

Las distintas versiones del romance «Caballero, si a Francia ides» que emergen en los manuscritos del siglo XVI proceden de un corte realizado en el romance juglaresco «Asentado está Gaiferos» a fines del siglo XV o primer cuarto del siguiente, todas ellas conservadas en cancioneros musicales hasta que Timoneda  incluyó un bello arreglo cortesano en su Rosa de amores; a su vez las versiones musicales fueron objeto de tres glosas abundantemente documentadas en manuscritos e impresos, prueba de su excelente acogida en los medios literarios. Además de poner las versiones musicales en el centro de la atención de los poetas, el análisis de estas versiones revela no pocos aspectos interesantes en la sociología del romancero durante este siglo.

A pamphlet published with support from the Society of Antiquaries of Scotland, and in partnership with Dumfries and Galloway Museums Service. A limited edition of 100 copies was printed.

The printed version comes with an erratum slip:
Page 3, line 3: For 'fifteenth and early sixteenth centuries' substitute 'sixteenth and early seventeenth centuries'.

Arany János 1853-ban írta meg Ágnes asszonyról szóló balladáját, amelynek középpontjában a bűn és bűnhődés kapcsolata áll, melyet irodalomtudományi és jogtudományi megközelítésből elemeztek leggyakrabban. Ebben a tanulmányban a jogtudomány eszközeivel teszek kísérletet arra, hogy megoldjak egy 168 éves rejtélyt, nevezetesen: miért engedte haza a bölcs törvényszék Ágnes asszonyt a börtönből? Voltak arra kísérletek, hogy a jogászok megválaszolják ezt a kérdést, azonban az elemzésekben vagy olyan körülményeket ítéltek büntethetőségi akadálynak, amelyek büntetőjogilag nem azok, vagy egyszerűen megtorpantak a végső verdikt kimondása előtt és az isteni igazságszolgáltatással magyarázták Ágnes asszony szabadon engedését. Arany János dalban elbeszélt tragédiájában az elkövetett bűn nem maradt következmények nélkül, azonban lényeges komponens az, hogy mi miatt vonjuk felelősségre Ágnes asszonyt. A bűn, vagy esetünkben a tragikus vétség nem azonos a törvényszegéssel – ez nem képezi vita tárgyát –, és az sem valószínű, hogy a ballada közlendője mindössze egy bűncselekmény míves leírása, azonban ha egy történetben a szerző úgy jelenít meg egy büntetőeljárási procedúrát, hogy annak az eleje és a közepe jogilag indokolható, akkor arra is kell lennie logikus válasznak, hogy az utolsó szakaszban miért távozhatott a vádlott szabadon.

El análisis conjunto de este poema y de la contrafactura cortesana que lo acompaña en el Cancionero Musical de Palacio permiten relacionarlo con los acontecimientos que acompañaron la sublevación mudéjar de 1500 y con la propaganda asimilacionista de los Reyes Católicos

"El impresor Martín Nucio, el Cancionero de Romances de 1550 y los lectores españoles de Amberes", en José J. Labrador Herraiz (ed.) Cancionero de Romances de 1550, México, Frente de Afirmación Hispanista, 2017, pp. 13-56.
Estudio introductorio a la edición facsímil del Cancionero de Romances de 1550. Se describen la actividad editorial de Martín Nucio, la situación de los lectores españoles en Amberes, la transmisión impresa del romancero antes del Cancionero de Romances s.a., las características de este primer Cancionero de Romances y de su segunda edición corregida y ampliada de 1550, las secuelas editoriales de la obra y algunas características específicas del ejemplar de la Hispanic Society de Nueva York, que es el que sirve de base a la edición facsímil.

En 1836 Frédéric Chopin publica una obra bajo un título novedoso: “Ballade”, término que hasta entonces sólo había hecho referencia a composiciones narrativas o vocales. Fruto de esta publicación, Robert Schumann escribió en su revista sobre una historia que inspiró a Chopin para esta obra: un poema titulado Konrad Wallenrod de Adam Mickiewicz, poeta polaco admirado por Chopin. Ambos exiliados compartían círculos sociales en París y el amor por la tierra natal a la que no podían regresar. Así mismo, en 1855, Johanna Kinkel (compositora de la época) escribe sobre el carácter narrativo de esta obra de Chopin, poniendo incluso nombre a los temas y los motivos.
Aunque existe una corriente de pensamiento que se opone rotundamente al hecho de relacionar la obra de Chopin con cualquier idea extra-musical y con la música programática, en este trabajo de investigación se defenderá y seguirá la idea basada en lo que se dijo en la época por Schumann y por Johanna Kinkel. Autores como Cortot (1949), John Rink y Jim Samson (1994) afirman la relación de este género con un estilo narrativo, inspirado en poemas de carácter épico como los de Adam Mickiewicz. Otros como James Parakilas (1992), Karol Berger (1996) y Jonathan Bellman (2009) han ido un poco más allá relacionando directamente ambas obras y encontrando elementos, personajes y secciones comunes.
Ya que existen muchos rasgos que definen este nuevo género como algo novedoso, nos hemos cuestionado cómo se traduce el lenguaje de un poema épico, medieval, heroico y trágico al carácter musical y la técnica pianística. Luis Ángel de Benito (2007) se centra en la búsqueda de tópicos –motivos comunes que adquieren un significado perceptible para el oyente– para encontrar este estilo, que serán a su vez estudiados por Janice Dickensheets en The Topical Vocabulary of the Nineteenth Century (2012). Por lo tanto, objetivo de nuestro trabajo es analizar los tópicos que aparecen en la obra para aproximarse al carácter de esta balada con una mirada que parte del poema ya nombrado.
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In 1836 Frédéric Chopin published a work under a novel title: "Ballade", a term that until then had only referred to narrative or vocal compositions. As a result of this publication, Robert Schumann wrote in his magazine about a story that inspired Chopin for this work: a poem entitled Konrad Wallenrod by Adam Mickiewicz, a Polish poet admired by Chopin. Both exiles, shared social circles in Paris and love for the homeland to which they could not return. Likewise, in 1855, Johanna Kinkel (composer of the time) writes about the narrative nature of this work by Chopin, even naming the themes and motives.
Although there is a current of thought that strongly opposes the fact of relating Chopin's work to any extra-musical idea and to programmatic music, this research work will defend and follow the current of thought that is based on what it was said at the time by Schumann and by Johanna Kinkel. Authors such as Cortot (1949), John Rink and Jim Samson (1994) affirm the relationship of this genre with a narrative style, inspired by epic poems such as those of Adam Mickiewicz. Others like James Parakilas (1992), Karol Berger (1996) and Jonathan Bellman (2009) have gone a little further by directly relating both works and finding elements, characters and common sections.
Since there are many traits that define this new genre as something new, how does the language within an epic, medieval, heroic and tragic poem translate into musical character and piano technique? Luis Ángel de Benito (2007) focuses on the search for topics -common motifs that acquire a perceptible meaning for the listener- to find this style, which in turn will be studied by Janice Dickensheets in The Topical Vocabulary of the Nineteenth Century (2012 ). In this way the objective of this work is to approach the character of this ballad with a look that starts from the poem already named.

Se hace un repaso sobre la alternativa entre atribución y anonimato en diversas compilaciones que contienen romances (Cancionero musical de Palacio, Cancionero general, pliegos sueltos y primeros romanceros), se trata de encontrar una explicación a las diversas opciones y se propone una identificación para el "Caballero cesáreo".

*FOR CITATIONS PLEASE USE "SHEILA LOUISE WRIGHT"*  Also see the audio/video of this piece here:
https://youtu.be/NNiiu9xUUic
This paper was written as documentation for the SCA (Society For Creative Anachronism), Kingdom of An Tir Bardic Championships 2015.

This ballad fragment is the oldest extant example of both balladry AND written musical notation in Scandinavia. Found at the end of a law text from around 1300-1320, it is an intriguing piece of history, but given the context of the text it is found in, what does the fragment REALLY mean?

Зборник Савремена српска фолклористика чине радови који су саопштени на
научном скупу, одржаном 4. и 5. октобра 2013. у Новом Саду. Скуп је организовао
Центар за истраживање српског фолклора на Одсеку за српску књижевност
Филозофског факултета Универзитета у Новом Саду. Поред уредница овог зборника,
проф. др Зоје Карановић и доц. др Јасмине Јокић, програмски одбор су чиниле и Нада
Милошевић-Ђорђевић, Снежана Самарџија и Биљана Сикимић као представници
осталих институција, у чије су делатности укључена истраживања фолклористичких
дисциплина (САНУ, Балканолошки институт, Филолошки факултет Универзитета у
Београду).

Se editan en facsímil dos primeras partes de esta colección de romances (Rosa de amores y Rosa gentil), con un amplio estudio preliminar sobre la génesis, versiones y transmisión de cada uno de los romances. El estudio relativo a las  otras dos partes, Rosa española y Rosa real, está contenido en el volumen siguiente, también consultable en este repositorio. El volumen imprso contiene también un facsímil, que se puede enviar a quien lo solicite.