Thomas Percy collected old English songs and ballads.
In the mid-1980s a group of folklore historians from universities in the western United States decided to collect for posterity various ballads from the old West.
To make up for the shocking shortage of ballads in the 100, here’s one of the biggest, written for Frank Sinatra before the Commodores decided to keep it for themselves.
The title was borrowed from Smokey Robinson’s 1975 album of laid-back soul ballads, and the genre helped make stars of artists such as Peabo Bryson, whose smooth ballads led the listener discretely to the bedroom door.
Much repetition in ballads is mnemonic as well as dramatic.
Perhaps a dozen or so ballads derive from medieval romances.
Many ballads passed into the oral tradition from broadside origins.
The refrain is just one of the many kinds of repetition employed in ballads.
It was not until several hundred years later that people began to write down these ballads.
Gilbert’s Bab Ballads (1869), and the inspired nonsense of Lewis Carroll’s Hunting of the Snark (1876).
Anonymous ballads probably dating from the 14th and 15th centuries also reflect a new interest in the romance genre.
In 1591 he published his Et hundrede udvalde danske viser, a collection of 100 medieval Danish folk songs and ballads.
Romancero, collective body of Spanish folk ballads (romances), which constitute a unique tradition of European balladry.
In colonial times the ballads of white Australians reflected convicts’ experiences and were similar to Irish ballads.
He also published Kanteletar (1840–41; “Old Songs and Ballads of the Finnish People”) and collections of proverbs, riddles, and incantations.
His final collection was published as The English and Scottish Popular Ballads, first in 10 parts (1882–98) and then in 5 quarto volumes, containing 305 ballads.
Digenis Akritas, also called Digenis Akritas Basileios, Byzantine epic hero celebrated in folk ballads (Akritic ballads) and in an epic relating his parentage, boyhood adventures, manhood, and death.
Sensational shipwrecks, plagues, train wrecks, mine explosions—all kinds of shocking acts of God and man—were regularly chronicled in ballads, a few of which remained in tradition, probably because of some special charm in the language or the music.
Between 1828 and 1832 Durán compiled and edited two collections of ballads, Colección de romances antiguos (“Collection of Ancient Ballads”) and Colección de romances castellanas anteriores al siglo XVIII (“Collection of Castilian Ballads Prior to the 18th Century”), better known as Romancero general, or Romancero de Durán.
For example, British and American ballads are invariably rhymed and strophic (i.e., divided into stanzas); the Russian ballads known as byliny and almost all Balkan ballads are unrhymed and unstrophic; and, though the romances of Spain, as their ballads are called, and the Danish viser are alike in using assonance instead of rhyme, the Spanish ballads are generally unstrophic while the Danish are strophic, parcelled into either quatrains or couplets.
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For example British and American ballads are invariably rhymed and strophic ie divided into stanzas the Russian ballads known as byliny and almost all Balkan ballads are unrhymed and unstrophic and though the romances of Spain as their ballads are called and the Danish viser are alike in using assonance instead of rhyme the Spanish ballads are generally unstrophic while the Danish are strophic parcelled into either quatrains or couplets