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The Child Ballads are traditional ballads from England and Scotland, collected and anthologized by Francis James Child during the second half of the 19th century. The collection contains examples from the 13th century onward. However, the majority of the ballads date to the seventeenth and eighteenth century. Although some have very ancient influences, only a handful can be definitively traced to before 1600. Child Ballads are heavier and darker than other ballads. The topics of the ballads are romance, enchantment, devotion, determination, obsession, jealousy, forbidden love, hallucination, the suppressed truth, supernatural experiences and deeds, half-human creatures, teenagers, family strife, the boldness of outlaws, authority, lust, death, karma, punishment, sin, morality, vanity, folly, dignity, nobility, and many others. They contain stories of national heroes like Robin Hood and mysterious creatures like elves and fairies.
This is the musical counterpart to the famous Francis James Child collection of English and Scottish ballads from the 13th to the 19th centuries. Professor Child's canon established the texts; Professor Bronson’s work provides both tunes and texts. Originally published in 1959. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Music and lyrics for over 200 songs. John Henry, Goin' Home, Little Brown Jug, Alabama-Bound, Black Betty, The Hammer Song, Jesse James, Down in the Valley, The Ballad of Davy Crockett, and many more.
Originally published in 1994. Filling a gap in the sound recordings of traditional Anglo-American folk music this volume covers both vocal and instrumental material from the 1920s to the 1990s. The listings have also been limited to performers native to the tradition rather than "revival" performers. The album selection is grouped into field recordings and commercial (pre-1942) recordings, with subdivisions into individual recordings or anthologies. The discography not only reflects its author’s in-depth knowledge of Anglo-American folk music’s historical development but charts a valuable step forward in the evaluation, as well as select lissting, of available sound recordings.
The legendary hero of Sherwood Forest, Robin Hood, is a figure who has in equal measure attracted and baffled historians for decades. With the first mention of him coming in Old English ballads, it was long assumed that it was almost impossible that he ever existed at all, and that he firmly belonged in the realm of Errol Flynn, Kevin Costner, and even Mel Brooks movies. Only a few historians have dared to venture that Robin of Sherwood was, in fact, a living and breathing human being. Historian John Paul Davis, while undertaking research on the Knights Templar, has uncovered new evidence on the folk hero that suggests that his ties to that order were much closer than previously supposed. Sticking closely to historical sources as well as the ballads, Davis has produced a new portrait of this intriguing figure with colorful and unique insights into the era that he lived in, reckoned by Davis to be at least 100 years closer to our own than previously supposed. Lavishly illustrated throughout, Robin Hood: The Unknown Templar will be of keen interest to anyone who has been even merely charmed by his legend; potentially explosive reading for those with their own theories of who Robin Hood really was.