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What the Ballad Knows - The Ballad Genre, Memory Culture, and German Nationalism (Hardcover)
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What the Ballad Knows - The Ballad Genre, Memory Culture, and German Nationalism (Hardcover)
Series: New Cultural History of Music
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Over the course of the 19th century, ballads proliferated in
German-speaking Europe in a truly remarkable range of contexts.
Audiences were of course likely encounter balladry in the volumes
of Goethe and Schiller, in various anthologies or illustrated
editions. But they were just as likely to come across objects
billed as ballads in recitation evenings by popular actors, in
song-settings by Schubert and Loewe, in piano pieces by Chopin, in
the opera house and the concert hall, in mass-produced drawings,
paintings and even chinaware. Ballads were poems one could use -
schoolteachers used them to train their students' memory (or punish
them), women composers used them to assert their place in the
musical canon, actors used them to bolster their income, mothers
used them to put their children to sleep. Ballads intersected with
gender and class, promising to democratize art, while in fact
helping make distinctions. In What the Ballad Knows: The Ballad
Genre, Memory Culture and German Nationalism, Adrian Daub tells the
story of this itinerant genre across media, periods, regions and
social strata and shows that, even though it was often positioned
as an authentic product of "German spirit," the ballad frequently
unsettled and subverted the national project. The popular
imagination rooted these poems in pre-modern oral culture, among
bards and peasants in the everyday life of common folk. But in fact
nineteenth-century ballads were in the end all about modernity -
modern modes of association, of attention, of dissemination.
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