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56-439: While ballads have no prescribed structure and may vary in their number of lines and stanzas, many ballads employ quatrains with ABCB or ABAB rhyme schemes , the key being a rhymed second and fourth line. Contrary to a popular conception, it is rare if not unheard-of for a ballad to contain exactly 13 lines. Additionally, couplets rarely appear in ballads. Many ballads were written and sold as single-sheet broadsides . The form

112-430: A commentary on his work it is uncertain exactly how and why he differentiated the 305 ballads printed that would be published as The English and Scottish Popular Ballads . There have been many different and contradictory attempts to classify traditional ballads by theme, but commonly identified types are the religious, supernatural, tragic, love ballads, historic, legendary and humorous. The traditional form and content of

168-481: A derry down O encountered in some English folksongs is in fact an ancient Celtic phrase meaning "dance around the oak tree." These suggestions remain controversial. There are two distinct uses of the word "chorus". In the thirty-two bar song form that was most common in the earlier twentieth-century popular music (especially the Tin Pan Alley tradition), "chorus" referred to the entire main section of

224-600: A further 400 have been identified as originating in America, including among the best known, ' The Ballad of Davy Crockett ' and ' Jesse James '. They became an increasing area of interest for scholars in the 19th century and most were recorded or catalogued by George Malcolm Laws , although some have since been found to have British origins and additional songs have since been collected. They are usually considered closest in form to British broadside ballads and in terms of style are largely indistinguishable, however, they demonstrate

280-421: A more pastoral form, like Isaac Bickerstaffe's Love in a Village (1763) and Shield's Rosina (1781), using more original music that imitated, rather than reproduced, existing ballads. Although the form declined in popularity towards the end of the 18th century its influence can be seen in light operas like that of Gilbert and Sullivan's early works like The Sorcerer as well as in the modern musical. In

336-482: A particular concern with occupations, journalistic style and often lack the ribaldry of British broadside ballads. The blues ballad has been seen as a fusion of Anglo-American and Afro-American styles of music from the 19th century. Blues ballads tend to deal with active protagonists, often anti-heroes, resisting adversity and authority, but frequently lacking a strong narrative and emphasizing character instead. They were often accompanied by banjo and guitar which followed

392-848: A product of the development of cheap print in the 16th century. They were generally printed on one side of a medium to large sheet of poor quality paper. In the first half of the 17th century, they were printed in black-letter or gothic type and included multiple, eye-catching illustrations, a popular tune title, as well as an alluring poem. By the 18th century, they were printed in white letter or roman type and often without much decoration (as well as tune title). These later sheets could include many individual songs, which would be cut apart and sold individually as "slip songs." Alternatively, they might be folded to make small cheap books or "chapbooks" which often drew on ballad stories. They were produced in huge numbers, with over 400,000 being sold in England annually by

448-511: A recurring line of identical text and melody which is part of a formal section—an A section in an AABA form (as in " I Got Rhythm ": "...who could ask for anything more?") or a verse (as in " Blowin' in the Wind ": "...the answer my friend is blowing in the wind")—whereas 'chorus' shall refer to a discrete form part (as in " Yellow Submarine ": "We all live in a..."). According to the musicologists Ralf von Appen and Markus Frei-Hauenschild In German,

504-477: A single iteration of the entire 32 bars of the AABA form, especially among jazz musicians, who improvise over multiple repetitions of such choruses." In jazz, an arranger's chorus is where the arranger uses particularly elaborate techniques to exhibit their skill and to impress the listener. This may include use of counterpoint , reharmonization , tone color , or any other arranging device. The arranger's chorus

560-485: A stressed syllable) tetrameter (eight syllables) and iambic trimeter (six syllables), known as ballad meter . Usually, only the second and fourth line of a quatrain are rhymed (in the scheme a, b, c, b), which has been taken to suggest that, originally, ballads consisted of couplets (two lines) of rhymed verse, each of 14 syllables. This can be seen in this stanza from " Lord Thomas and Fair Annet ": The horse | fair Ann | et rode | up on | He amb | led like |

616-529: A title for other media such as a film. A ballad is a form of verse, often a narrative set to music . Ballads derive from the medieval French chanson balladée or ballade , which were originally "dancing songs" ( L : ballare , to dance), yet becoming "stylized forms of solo song" before being adopted in England. As a narrative song, their theme and function may originate from Scandinavian and Germanic traditions of storytelling that can be seen in poems such as Beowulf . Musically they were influenced by

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672-472: Is "marching on." Refrains usually, but not always, come at the end of the verse. Some songs, especially ballads , incorporate refrains (or burdens ) into each verse. For example, one version of the traditional ballad " The Cruel Sister " includes a refrain mid-verse: There lived a lady by the North Sea shore, Two daughters were the babes she bore. As one grew bright as is the sun, So coal black grew

728-579: Is generally not the first or the last chorus of a jazz performance. In jazz, a shout chorus (occasionally: out chorus ) is usually the last chorus of a big band arrangement, and is characterized by being the most energetic, lively, and exciting and by containing the musical climax of the piece. A shout chorus characteristically employs extreme ranges , loud dynamics , and a re-arrangement of melodic motives into short, accented riffs. Shout choruses often feature tutti or concerted writing, but may also use contrapuntal writing or call and response between

784-497: Is often dramatized as a narrative of degeneration away from the pure 'folk memory' or 'immemorial tradition'. In the introduction to Minstrelsy of the Scottish Border (1802) the romantic poet and historical novelist Walter Scott argued a need to 'remove obvious corruptions' in order to attempt to restore a supposed original. For Scott, the process of multiple recitations 'incurs the risk of impertinent interpolations from

840-563: Is repeated in every iteration. In this usage, the refrain does not constitute a discrete, independent section within the form. Many Tin-Pan Alley songs using thirty-two bar form are central to the traditional jazz repertoire. In jazz arrangements the word "chorus" refers to the same unit of music as in the Tin Pan Alley tradition, but unlike the Tin Pan Alley tradition a single song can have more than one chorus. Von Appen and Frei-Hauenschild explain, "The term, 'chorus' can also refer to

896-460: The 1891 Australian shearers' strike , class conflicts between the landless working class and the squatters (landowners), and outlaws such as Ned Kelly , as well as love interests and more modern fare such as trucking . The most famous bush ballad is " Waltzing Matilda ", which has been called "the unofficial national anthem of Australia". Sentimental ballads, sometimes called "tear-jerkers" or "drawing-room ballads" owing to their popularity with

952-538: The Roxburghe Ballads collected by Robert Harley , (1661–1724), which paralleled the work in Scotland by Walter Scott and Robert Burns . Inspired by his reading as a teenager of Reliques of Ancient English Poetry by Thomas Percy , Scott began collecting ballads while he attended Edinburgh University in the 1790s. He published his research from 1802 to 1803 in a three-volume work, Minstrelsy of

1008-539: The villanelle , the virelay , and the sestina . In popular music, the refrain or chorus may contrast with the verse melodically , rhythmically , and harmonically ; it may assume a higher level of dynamics and activity, often with added instrumentation. Chorus form, or strophic form , is a sectional and/or additive way of structuring a piece of music based on the repetition of one formal section or block played repeatedly. Although repeats of refrains may use different words, refrains are made recognizable by reusing

1064-558: The wind |, With sil | ver he | was shod | be fore , With burn | ing gold | be hind |. There is considerable variation on this pattern in almost every respect, including length, number of lines and rhyming scheme, making the strict definition of a ballad extremely difficult. In southern and eastern Europe, and in countries that derive their tradition from them, ballad structure differs significantly, like Spanish romanceros , which are octosyllabic and use consonance rather than rhyme. Ballads usually are heavily influenced by

1120-538: The 1660s. Tessa Watt estimates the number of copies sold may have been in the millions. Many were sold by travelling chapmen in city streets or at fairs. The subject matter varied from what has been defined as the traditional ballad, although many traditional ballads were printed as broadsides. Among the topics were love, marriage, religion, drinking-songs, legends, and early journalism, which included disasters, political events and signs, wonders and prodigies. Literary or lyrical ballads grew out of an increasing interest in

1176-507: The 18th century ballad operas developed as a form of English stage entertainment , partly in opposition to the Italian domination of the London operatic scene. It consisted of racy and often satirical spoken (English) dialogue, interspersed with songs that are deliberately kept very short to minimize disruptions to the flow of the story. Rather than the more aristocratic themes and music of

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1232-407: The 20th century, one of the most influential plays, Kurt Weill and Bertolt Brecht's (1928) The Threepenny Opera was a reworking of The Beggar's Opera , setting a similar story with the same characters, and containing much of the same satirical bite, but only using one tune from the original. The term ballad opera has also been used to describe musicals using folk music, such as The Martins and

1288-458: The 21st century, where it is seen in works published in many languages. This form of poetry has been continually popular in Iran since the medieval period, as Ruba'is form; an important faction of the vast repertoire of Persian poetry, with famous poets such as Omar Khayyam and Mahsati Ganjavi of Seljuk Persia writing poetry only in this format. Michel de Nostredame ( Nostradamus ) used

1344-588: The Ancient Mariner . Wordsworth, Coleridge, and Keats were attracted to the simple and natural style of these folk ballads and tried to imitate it. At the same time in Germany Goethe cooperated with Schiller on a series of ballads, some of which were later set to music by Schubert . Later important examples of the poetic form included Rudyard Kipling's " Barrack-Room Ballads " (1892–6) and Oscar Wilde 's The Ballad of Reading Gaol (1897). In

1400-660: The Coys in 1944, and Peter Bellamy's The Transports in 1977. The satiric elements of ballad opera can be seen in some modern musicals such as Chicago and Cabaret . Some 300 ballads sung in North America have been identified as having origins in Scottish traditional or broadside ballads. Examples include ' The Streets of Laredo ', which was found in Great Britain and Ireland as 'The Unfortunate Rake'; however,

1456-577: The Cup, and in the fire of Spring Your Winter garment of Repentance fling: The Bird of Time has but a little way To flutter—and the Bird is on the Wing. Refrain A refrain (from Vulgar Latin refringere , "to repeat", and later from Old French refraindre ) is the line or lines that are repeated in music or in poetry —the " chorus " of a song . Poetic fixed forms that feature refrains include

1512-509: The Italian opera, the ballad operas were set to the music of popular folk songs and dealt with lower-class characters. Subject matter involved the lower, often criminal, orders, and typically showed a suspension (or inversion) of the high moral values of the Italian opera of the period. The first, most important and successful was The Beggar's Opera of 1728, with a libretto by John Gay and music arranged by John Christopher Pepusch , both of whom probably influenced by Parisian vaudeville and

1568-611: The Middle Ages, there are many variations of each. The ballads remained an oral tradition until the increased interest in folk songs in the 18th century led collectors such as Bishop Thomas Percy (1729–1811) to publish volumes of popular ballads. In all traditions most ballads are narrative in nature, with a self-contained story, often concise, and rely on imagery, rather than description, which can be tragic, historical, romantic or comic. Themes concerning rural labourers and their sexuality are common, and there are many ballads based on

1624-695: The Minnelieder of the Minnesang tradition. The earliest example of a recognizable ballad in form in England is " Judas " in a 13th-century manuscript . Ballads were originally written to accompany dances, and so were composed in couplets with refrains in alternate lines. These refrains would have been sung by the dancers in time with the dance. Most northern and west European ballads are written in ballad stanzas or quatrains (four-line stanzas ) of alternating lines of iambic (an unstressed followed by

1680-599: The Robin Hood legend. Another common feature of ballads is repetition, sometimes of fourth lines in succeeding stanzas, as a refrain , sometimes of third and fourth lines of a stanza and sometimes of entire stanzas. Scholars of ballads have been divided into "communalists", such as Johann Gottfried Herder (1744–1803) and the Brothers Grimm , who argue that ballads are originally communal compositions, and "individualists" such as Cecil Sharp , who assert that there

1736-473: The Scottish Border . Burns collaborated with James Johnson on the multi-volume Scots Musical Museum , a miscellany of folk songs and poetry with original work by Burns. Around the same time, he worked with George Thompson on A Select Collection of Original Scottish Airs for the Voice . Both Northern English and Southern Scots shared in the identified tradition of Border ballads , particularly evinced by

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1792-540: The authors and performers are often referred to as bush bards. The 19th century was the golden age of bush ballads. Several collectors have catalogued the songs including John Meredith whose recording in the 1950s became the basis of the collection in the National Library of Australia . The songs tell personal stories of life in the wide open country of Australia. Typical subjects include mining, raising and droving cattle, sheep shearing , wanderings, war stories,

1848-535: The ballad form among social elites and intellectuals, particularly in the Romantic movement from the later 18th century. Respected literary figures Robert Burns and Walter Scott in Scotland collected and wrote their own ballads. Similarly in England William Wordsworth and Samuel Taylor Coleridge produced a collection of Lyrical Ballads in 1798 that included Coleridge's The Rime of

1904-415: The ballad were modified to form the basis for twenty-three bawdy pornographic ballads that appeared in the underground Victorian magazine The Pearl , which ran for eighteen issues between 1879 and 1880. Unlike the traditional ballad, these obscene ballads aggressively mocked sentimental nostalgia and local lore. Broadside ballads (also known as 'broadsheet', 'stall', 'vulgar' or 'come all ye' ballads) were

1960-455: The blues musical format. The most famous blues ballads include those about John Henry and Casey Jones . The ballad was taken to Australia by early settlers from Great Britain and Ireland and gained particular foothold in the rural outback . The rhyming songs, poems and tales written in the form of ballads often relate to the itinerant and rebellious spirit of Australia in The Bush , and

2016-442: The burlesques and musical plays of Thomas d'Urfey (1653–1723), a number of whose collected ballads they used in their work. Gay produced further works in this style, including a sequel under the title Polly . Henry Fielding , Colley Cibber , Arne, Dibdin, Arnold, Shield, Jackson of Exeter, Hook and many others produced ballad operas that enjoyed great popularity. Ballad opera was attempted in America and Prussia. Later it moved into

2072-627: The common themes of sailing and naval battles may also have prompted the use (at least in England) of popular ballads as naval recruitment tools. Key work on the traditional ballad was undertaken in the late 19th century in Denmark by Svend Grundtvig and for England and Scotland by the Harvard professor Francis James Child . They attempted to record and classify all the known ballads and variants in their chosen regions. Since Child died before writing

2128-563: The conceit of one rehearser, unintelligible blunders from the stupidity of another, and omissions equally to be regretted, from the want of memory of a third.' Similarly, John Robert Moore noted 'a natural tendency to oblivescence'. European Ballads have been generally classified into three major groups: traditional, broadside and literary. In America a distinction is drawn between ballads that are versions of European, particularly British and Irish songs, and 'Native American ballads', developed without reference to earlier songs. A further development

2184-500: The cross-border narrative in versions of " The Ballad of Chevy Chase " sometimes associated with the Lancashire-born sixteenth-century minstrel Richard Sheale . It has been suggested that the increasing interest in traditional popular ballads during the eighteenth century was prompted by social issues such as the enclosure movement as many of the ballads deal with themes concerning rural laborers. James Davey has suggested that

2240-561: The end of the 15th century there are printed ballads that suggest a rich tradition of popular music. A reference in William Langland 's Piers Plowman indicates that ballads about Robin Hood were being sung from at least the late 14th century and the oldest detailed material is Wynkyn de Worde's collection of Robin Hood ballads printed about 1495. Early collections of English ballads were made by Samuel Pepys (1633–1703) and in

2296-580: The heart's desire: All Love's lordship lay between, A sheen on the breasts I Love. O Troy's down, Tall Troy's on fire! . . . Phrases of apparent nonsense in refrains ( Lay the bent to the bonny broom? ), and syllables such as fa la la , familiar from the Christmas carol " Deck the Halls with Boughs of Holly", have given rise to much speculation. Some believe that the traditional refrain Hob

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2352-563: The middle classes, had their origins in the early " Tin Pan Alley " music industry of the later 19th century. They were generally sentimental, narrative, strophic songs published separately or as part of an opera (descendants perhaps of broadside ballads , but with printed music , and usually newly composed). Such songs include "Little Rosewood Casket" (1870), " After the Ball " (1892) and " Danny Boy ". The association with sentimentality led to

2408-435: The other one. (Note: the refrain of "Lay the bent to the bonny broom" is not traditionally associated with the ballad of "The Cruel Sister" ( Child #10). This was the work of 'pop-folk' group Pentangle on their 1970 LP Cruel Sister which has subsequently been picked up by many folk singers as being traditional. Both the melody and the refrain come from the ballad known as " Riddles Wisely Expounded " (Child #1). ) Here,

2464-448: The quatrain form to deliver his famous " prophecies " in the 16th century. There are fifteen possible rhyme schemes , but the most traditional and common are ABAA , AAAA , ABAB , and ABBA . An example can be found in the following of Thomas Gray 's " Elegy Written in a Country Churchyard ". The curfew tolls the knell of parting day, The lowing herd wind slowly o'er the lea, The plowman homeward plods his weary way, And leaves

2520-503: The refrain is syntactically independent of the narrative poem in the song, and has no obvious relationship to its subject, and indeed little inherent meaning at all. The device can also convey material which relates to the subject of the poem. Such a refrain is found in Dante Gabriel Rossetti 's "Troy Town": Heavenborn Helen, Sparta's queen, O Troy Town! Had two breasts of heavenly sheen, The sun and moon of

2576-597: The regions in which they originate and use the common dialect of the people. Scotland 's ballads in particular, both in theme and language, are strongly characterised by their distinctive tradition, even exhibiting some pre-Christian influences in the inclusion of supernatural elements such as travel to the Fairy Kingdom in the Scots ballad "Tam Lin". The ballads do not have any known author or correct version; instead, having been passed down mainly by oral tradition since

2632-458: The same melody (when sung as music) and by preserving any rhymes . For example, " The Star-Spangled Banner " contains a refrain which is introduced by a different phrase in each verse, but which always ends: O'er the land of the free, and the home of the brave. A similar refrain is found in the " Battle Hymn of the Republic ", which affirms in successive verses that "Our God", or "His Truth",

2688-459: The song (which was in a thirty-two bar AABA form). Beginning in the rock music of the 1950s, another form became more common in commercial pop music, which was based in an open-ended cycle of verses instead of a fixed 32-bar form. In this form (which is more common than thirty-two bar form in later-twentieth century pop music), "choruses" with fixed lyrics are alternated with "verses" in which the lyrics are different with each repetition. In this use of

2744-533: The term "ballad" being used for slow love songs from the 1950s onwards. Modern variations include " jazz ballads ", " pop ballads ", " rock ballads ", " R&B ballads " and " power ballads ". Quatrain A quatrain is a type of stanza , or a complete poem , consisting of four lines . Existing in a variety of forms, the quatrain appears in poems from the poetic traditions of various ancient civilizations including Persia , Ancient India , Ancient Greece , Ancient Rome , and China , and continues into

2800-455: The term, "Refrain," is used synonymously with "chorus" when referring to a chorus within the verse/chorus form. At least one English-language author, Richard Middleton, uses the term in the same way. In English usage, however, the term, »refrain« typically refers to what in German is more precisely called the »Refrainzeile« (refrain line): a lyric at the beginning or end of a section that

2856-408: The word, chorus contrasts with the verse, which usually has a sense of leading up to the chorus. "Many popular songs, particularly from early in this century, are in a verse and a chorus ( refrain ) form. Most popular songs from the middle of the century consist only of a chorus." While the terms 'refrain' and 'chorus' often are used synonymously, it has been suggested to use 'refrain' exclusively for

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2912-625: The world to darkness and to me. An example can be found in Robert Burns , " A Red, Red Rose ". O, my luve’s like a red, red rose, That's newly sprung in June; O, my luve’s like the melodie That's sweetly played in tune. An example can be found in Alfred Lord Tennyson 's " In Memoriam A.H.H. ". So word by word, and line by line, The dead man touch’d me from the past, And all at once it seem’d at last The living soul

2968-685: Was flash’d on mine. An example can be found in William Blake 's " The Tyger ". (These are the first and last stanzas of the poem) Tyger Tyger, burning bright, In the forests of the night; What immortal hand or eye, Could frame thy fearful symmetry? ... Tyger Tyger burning bright, In the forests of the night: What immortal hand or eye, Dare frame thy fearful symmetry An example can be found in “ La Belle Dame sans Merci ” by John Keats . I saw pale kings and princes too, Pale warriors, death-pale were they all; They cried—‘La Belle Dame sans Merci Thee hath in thrall!’ Come, fill

3024-407: Was often used by poets and composers from the 18th century onwards to produce lyrical ballads. In the later 19th century, the term took on the meaning of a slow form of popular love song and is often used for any love song, particularly the sentimental ballad of pop or rock music, although the term is also associated with the concept of a stylized storytelling song or poem, particularly when used as

3080-435: Was one single original author. Communalists tend to see more recent, particularly printed, broadside ballads of known authorship as a debased form of the genre, while individualists see variants as corruptions of an original text. More recently scholars have pointed to the interchange of oral and written forms of the ballad. The transmission of ballads comprises a key stage in their re-composition. In romantic terms this process

3136-453: Was the evolution of the blues ballad, which mixed the genre with Afro-American music. For the late 20th century the music publishing industry found a market for what are often termed sentimental ballads, and these are the origin of the modern use of the term 'ballad' to mean a slow love song. The traditional, classical or popular (meaning of the people) ballad has been seen as beginning with the wandering minstrels of late medieval Europe. From

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