Sentimental ballad: Difference between revisions
Chompy Ace (talk | contribs) Tags: Mobile edit Mobile web edit Advanced mobile edit |
Citation bot (talk | contribs) Added date. | Use this bot. Report bugs. | Suggested by Abductive | Category:Soul music | #UCB_Category 1/14 |
||
(5 intermediate revisions by 5 users not shown) | |||
Line 57: | Line 57: | ||
===Jazz and traditional pop=== |
===Jazz and traditional pop=== |
||
Most [[traditional pop |
Most [[traditional pop|pop standard]] and jazz ballads are built from a single, introductory ''verse'', usually around 16 [[bar (music)|bars]] in length, and they end on the [[dominant (music)|dominant]] – the ''chorus'' or ''[[refrain]]'', usually 16 or 32 bars long and in [[AABA form]] (though other forms, such as ABAC, are not uncommon). In AABA forms, the B section is usually referred to as the ''[[bridge (music)|bridge]]''; often a brief ''[[coda (music)|coda]]'', sometimes based on material from the bridge, is added, as in "[[Over the Rainbow]]".<ref>D. Randel, ''The New Harvard Dictionary of Music'', (Cambridge MS: Harvard University Press, 1986) {{ISBN|0-674-61525-5}}, p. 68.</ref><ref>Buchan, D. (1972). ''The Ballad and the Folk.'' East Linton: Tuckwell Press</ref> |
||
===Pop and R&B ballads=== |
===Pop and R&B ballads=== |
||
Line 72: | Line 72: | ||
| cultural_origins = Early 1970s |
| cultural_origins = Early 1970s |
||
| image = Ec-hasslau.de 010.jpg |
| image = Ec-hasslau.de 010.jpg |
||
| caption = To emphasize the emotional aspect of a power ballad, crowds customarily hold up [[lighter]]s adjusted to produce a large flame (or, as a more recent alternative, a turned-on [[smartphone]] screen).<ref>{{cite news |last1=Powers |first1=Ann |title=POP VIEW; The Male Rock Anthem: Going All to Pieces |url=https://www.nytimes.com/1998/02/01/arts/pop-view-the-male-rock-anthem-going-all-to-pieces.html |work=The New York Times |date=1 February 1998 }}</ref><ref>{{cite news |last1=Burgess |first1=Darrin |title=Rock Concert Question: Are Lighter Salutes Bad for the Environment? |url=https://www.livescience.com/4157-rock-concert-question-lighter-salutes-bad-environment.html |work=Live Science |date=15 July 2006 }}</ref> |
| caption = To emphasize the emotional aspect of a power ballad, crowds customarily hold up [[lighter]]s adjusted to produce a large flame (or, as a more recent alternative, a turned-on [[smartphone]] screen or flashlight function).<ref>{{cite news |last1=Powers |first1=Ann |title=POP VIEW; The Male Rock Anthem: Going All to Pieces |url=https://www.nytimes.com/1998/02/01/arts/pop-view-the-male-rock-anthem-going-all-to-pieces.html |work=The New York Times |date=1 February 1998 }}</ref><ref>{{cite news |last1=Burgess |first1=Darrin |title=Rock Concert Question: Are Lighter Salutes Bad for the Environment? |url=https://www.livescience.com/4157-rock-concert-question-lighter-salutes-bad-environment.html |work=Live Science |date=15 July 2006 }}</ref> |
||
| derivatives = |
| derivatives = |
||
| subgenres = |
| subgenres = |
||
Line 85: | Line 85: | ||
}} |
}} |
||
[[Simon Frith]], the British sociomusicologist and former rock critic, identifies the origins of the power ballad in the emotional singing of [[Soul music|soul]] artists, particularly [[Ray Charles]], and the adaptation of this style by performers such as [[Eric Burdon]], [[Tom Jones (singer)|Tom Jones]], and [[Joe Cocker]] to produce slow-tempo songs often building to a loud and emotive chorus backed by drums, electric guitars, and sometimes choirs.<ref name=Frithpop>S. Frith, "Pop Music" in S. Frith, W. Straw and J. Street, ''[[Cambridge Companions to Music|The Cambridge Companion to Pop and Rock]]'' (Cambridge: Cambridge University Press), pp. 100-1.</ref> According to [[Charles Aaron]], power ballads came into existence in the early 1970s, when rock stars attempted to convey profound messages to audiences while retaining their "macho rocker" mystique.<ref name=aaron>{{cite book|last=Aaron|first=Charles|editor1=Jonathan Lethem |editor2=Paul Bresnick|title=Da Capo Best Music Writing 2002: The Year's Finest Writing on Rock, Pop, Jazz, Country, and More| |
[[Simon Frith]], the British sociomusicologist and former rock critic, identifies the origins of the power ballad in the emotional singing of [[Soul music|soul]] artists, particularly [[Ray Charles]], and the adaptation of this style by performers such as [[Eric Burdon]], [[Tom Jones (singer)|Tom Jones]], and [[Joe Cocker]] to produce slow-tempo songs often building to a loud and emotive chorus backed by drums, electric guitars, and sometimes choirs.<ref name=Frithpop>S. Frith, "Pop Music" in S. Frith, W. Straw and J. Street, ''[[Cambridge Companions to Music|The Cambridge Companion to Pop and Rock]]'' (Cambridge: Cambridge University Press), pp. 100-1.</ref> According to [[Charles Aaron]], power ballads came into existence in the early 1970s, when rock stars attempted to convey profound messages to audiences while retaining their "macho rocker" mystique.<ref name=aaron>{{cite book|last=Aaron|first=Charles|editor1=Jonathan Lethem |editor2=Paul Bresnick|title=Da Capo Best Music Writing 2002: The Year's Finest Writing on Rock, Pop, Jazz, Country, and More|publisher=[[Da Capo Press]]|chapter=Don't Fight the Power |year=2002 |isbn=978-0-306-81166-1|page=132}}</ref> The [[hard rock]] power ballad typically expresses love or heartache through its lyrics, shifting into wordless intensity and emotional transcendence with heavy drumming and a distorted [[electric guitar]] solo representing the "power" in the power ballad.<ref name=Metzer2017>{{cite book |title=The Ballad in American Popular Music: From Elvis to Beyoncé |page=144 |last=Metzer |first=David |date=2017 |publisher=Cambridge University Press |isbn=9781108509749}}</ref><ref name=Brown2016>{{cite book |title=Heavy Metal Studies and Popular Culture |editor1=Gabby Riches |editor2=Dave Snell |editor3=Bryan Bardine |editor4=Brenda Gardenour Walter |last=Brown |first=Andy R. |chapter=The Ballad of Heavy Metal: Re-thinking Artistic and Commercial Strategies in the Mainstreaming of Metal and Hard Rock |page=83 |publisher=Springer |date=2016 |isbn=9781137456687}}</ref> |
||
Aaron argues that the hard rock power ballad broke into the mainstream of American consciousness in 1976 as FM radio gave a new lease of life to earlier impassioned songs such as [[Badfinger]]'s "[[Without You (Badfinger song)|Without You]]", [[Led Zeppelin]]'s "[[Stairway to Heaven]]" and [[Aerosmith]]'s "[[Dream On (Aerosmith song)|Dream On]]".<ref name=aaron/> [[The Carpenters]]' "[[Goodbye to Love]]" has also been identified as a prototype of the power ballad, driven by the hard rock guitar sound of [[Tony Peluso]].<ref>{{cite news |last=Perrone |first=Pierre |title=Tony Peluso: Guitarist whose solos on The Carpenters' 'Goodbye to Love' ushered in the power-ballad era |url=https://www.independent.co.uk/news/obituaries/tony-peluso-guitarist-whose-solos-on-the-carpenters-goodbye-to-love-ushered-in-the-powerballad-era-2041048.html|access-date=4 February 2013|newspaper=[[The Independent]]|date=2 August 2010}}</ref> British [[Heavy metal music|heavy metal]] band [[Judas Priest]] wrote many power ballads, starting with "[[Dreamer Deceiver]]" and "[[Beyond the Realms of Death]]".<ref name=Brown2016/> |
Aaron argues that the hard rock power ballad broke into the mainstream of American consciousness in 1976 as FM radio gave a new lease of life to earlier impassioned songs such as [[Badfinger]]'s "[[Without You (Badfinger song)|Without You]]", [[Led Zeppelin]]'s "[[Stairway to Heaven]]" and [[Aerosmith]]'s "[[Dream On (Aerosmith song)|Dream On]]".<ref name=aaron/> [[The Carpenters]]' 1972 single "[[Goodbye to Love]]" has also been identified as a prototype of the power ballad, driven by the hard rock guitar sound of [[Tony Peluso]].<ref>{{cite news |last=Perrone |first=Pierre |title=Tony Peluso: Guitarist whose solos on The Carpenters' 'Goodbye to Love' ushered in the power-ballad era |url=https://www.independent.co.uk/news/obituaries/tony-peluso-guitarist-whose-solos-on-the-carpenters-goodbye-to-love-ushered-in-the-powerballad-era-2041048.html|access-date=4 February 2013|newspaper=[[The Independent]]|date=2 August 2010}}</ref> British [[Heavy metal music|heavy metal]] band [[Judas Priest]] wrote many power ballads, starting with "[[Dreamer Deceiver]]" and "[[Beyond the Realms of Death]]".<ref name=Brown2016/> |
||
American rock band [[Styx (band)|Styx]] has been credited with releasing the first true power ballad, the song "[[Lady (Styx song)|Lady]]", in 1973.<ref>{{cite web |last1=Dominic |first1=Serene |title=Power Me, Ballad Me: The Power Ballad Timeline |url=https://www.metrotimes.com/detroit/power-me-ballad-me-the-power-ballad-timeline/Content?oid=2176365 |website=Detroit Metro Times |access-date=21 February 2022}}</ref> Its writer, [[Dennis DeYoung]] is called the "father of the power ballad".<ref>{{cite web |title=Dennis DeYoung on Story of Styx 70s Hit Lady |url=https://www.youtube.com/watch?v=O2pnyduhfjM |website=YouTube |access-date=21 February 2022}}</ref> In the 1980s, bands such as [[Journey (band)|Journey]] and [[REO Speedwagon]] contributed to the power ballad becoming a staple of hard rock performers who wanted to gain more radio airplay and satisfy their female audience members with a slower, more emotional love song.{{Citation needed|date=October 2023}} [[Mötley Crüe]] was one of the bands showcasing this style, with songs such as "[[Home Sweet Home (Mötley Crüe song)|Home Sweet Home]]" and "[[You're All I Need (song)|You're All I Need]]".<ref name=Harrison2011/> Nearly every hard rock and [[glam metal]] band wrote at least one power ballad for each album, and record labels often released these as the album's second single.{{Citation needed|date=October 2023}} |
American rock band [[Styx (band)|Styx]] has been credited with releasing the first true power ballad, the song "[[Lady (Styx song)|Lady]]", in 1973.<ref>{{cite web |last1=Dominic |first1=Serene |title=Power Me, Ballad Me: The Power Ballad Timeline |url=https://www.metrotimes.com/detroit/power-me-ballad-me-the-power-ballad-timeline/Content?oid=2176365 |website=Detroit Metro Times |access-date=21 February 2022}}</ref> Its writer, [[Dennis DeYoung]] is called the "father of the power ballad".<ref>{{cite web |title=Dennis DeYoung on Story of Styx 70s Hit Lady |url=https://www.youtube.com/watch?v=O2pnyduhfjM |website=YouTube | date=25 August 2020 |access-date=21 February 2022}}</ref> In the 1980s, bands such as [[Journey (band)|Journey]] and [[REO Speedwagon]] contributed to the power ballad becoming a staple of hard rock performers who wanted to gain more radio airplay and satisfy their female audience members with a slower, more emotional love song.{{Citation needed|date=October 2023}} [[Mötley Crüe]] was one of the bands showcasing this style, with songs such as "[[Home Sweet Home (Mötley Crüe song)|Home Sweet Home]]" and "[[You're All I Need (song)|You're All I Need]]".<ref name=Harrison2011/> Nearly every hard rock and [[glam metal]] band wrote at least one power ballad for each album, and record labels often released these as the album's second single.{{Citation needed|date=October 2023}} |
||
When [[grunge]] appeared as a counterpoint to the excesses of 1980s hard rock and glam metal, one of the distinctions of the grunge style was the absence of power ballads;<ref name=Harrison2011>{{cite book |title=Music of the 1980s |page=41 |last=Harrison |first=Thomas |date=2011 |publisher=ABC-CLIO |isbn=9780313366000}}</ref> however, some songs from this era such as "Rooster" by Alice in Chains (1992), which Ned Raggett described as the band's "own particular approach" to the style,<ref name="amrooster">{{cite web |last1=Raggett |first1=Ned |title=Rooster by Alice in Chains |url=https://www.allmusic.com/song/rooster-mt0027001536 |website=AllMusic |access-date=15 June 2023}}</ref> and "[[Black Hole Sun]]" by Soundgarden (1994)<ref name="kerranglaw">{{cite news |last1=Law |first1=Sam |title=The 20 greatest Soundgarden songs – ranked |url=https://www.kerrang.com/the-20-greatest-soundgarden-songs-ranked |access-date=15 June 2023 |work=Kerrang! |date=10 May 2021}}</ref> have been described using this term, and songs in its subgenre [[post-grunge]] included ballads.{{citation needed|date=February 2023}} |
When [[grunge]] appeared as a counterpoint to the excesses of 1980s hard rock and glam metal, one of the distinctions of the grunge style was the absence of power ballads;<ref name=Harrison2011>{{cite book |title=Music of the 1980s |page=41 |last=Harrison |first=Thomas |date=2011 |publisher=ABC-CLIO |isbn=9780313366000}}</ref> however, some songs from this era such as "Rooster" by Alice in Chains (1992), which Ned Raggett described as the band's "own particular approach" to the style,<ref name="amrooster">{{cite web |last1=Raggett |first1=Ned |title=Rooster by Alice in Chains |url=https://www.allmusic.com/song/rooster-mt0027001536 |website=AllMusic |access-date=15 June 2023}}</ref> and "[[Black Hole Sun]]" by Soundgarden (1994)<ref name="kerranglaw">{{cite news |last1=Law |first1=Sam |title=The 20 greatest Soundgarden songs – ranked |url=https://www.kerrang.com/the-20-greatest-soundgarden-songs-ranked |access-date=15 June 2023 |work=Kerrang! |date=10 May 2021}}</ref> have been described using this term, and songs in its subgenre [[post-grunge]] included ballads.{{citation needed|date=February 2023}} |
||
Line 118: | Line 118: | ||
{{Singing}} |
{{Singing}} |
||
[[Category:Ballads]] |
[[Category:Ballads| ]] |
||
[[Category:Sentimental ballads| ]] |
[[Category:Sentimental ballads| ]] |
||
[[Category:Jazz techniques]] |
[[Category:Jazz techniques]] |
Latest revision as of 00:09, 9 June 2024
A sentimental ballad is an emotional style of music that often deals with romantic and intimate relationships, and to a lesser extent, loneliness, death, war, drug abuse, politics and religion, usually in a poignant but solemn manner.[1] Ballads are generally melodic enough to get the listener's attention.[2]
Sentimental ballads are found in most music genres, such as pop, R&B, soul, country, folk, rock and electronic music.[3] Usually slow in tempo, ballads tend to have a lush musical arrangement which emphasizes the song's melody and harmonies. Characteristically, ballads use acoustic instruments such as guitars, pianos, saxophones, and sometimes an orchestral set. Many modern mainstream ballads tend to feature synthesizers, drum machines and even, to some extent, a dance rhythm.[4]
Sentimental ballads had their origins in the early Tin Pan Alley music industry of the later 19th century.[5] Initially known as "tear-jerkers" or "drawing-room ballads", they were generally sentimental, narrative, strophic songs published separately or as part of an opera, descendants perhaps of broadside ballads. As new genres of music began to emerge in the early 20th century, their popularity faded, but the association with sentimentality led to the term ballad being used for a slow love song from the 1950s onwards.[6]
History
Early history
Sentimental ballads have their roots from medieval French chanson balladée or ballade, which were originally "danced songs". Ballads were particularly characteristic of the popular poetry and song of the British Isles from the later medieval period until the 19th century. They were widely used across Europe, and later in the Americas, Australia and North Africa.[7][8][9] As a narrative song, their theme and function may originate from Scandinavian and Germanic traditions of storytelling.[10] Musically they were influenced by the Minnesinger.[11] The earliest example of a recognizable ballad in form in England is "Judas" in a 13th-century manuscript.[12] 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.[13]
18th century – early 20th century
![](http://upload.wikimedia.org/wikipedia/commons/thumb/a/af/AftertheBallSheet.jpg/220px-AftertheBallSheet.jpg)
Ballads at this time were originally composed in couplets with refrains in alternate lines. These refrains would have been sung by the dancers in time with the dance.[16] In 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.[17] 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 was the evolution of the blues ballad, which mixed the genre with Afro-American music.[18]
In the late 19th century, Danish folklorist Svend Grundtvig and Harvard professor Francis James Child attempted to record and classify all the known ballads and variants in their chosen regions.[12] Since Child died before writing 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.[19] 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.[10]
By the Victorian era, ballad had come to mean any sentimental popular song, especially so-called "royalty ballads".[20] Some of Stephen Foster's songs exemplify this genre. By the 1920s, composers of Tin Pan Alley and Broadway used ballad to signify a slow, sentimental tune or love song, often written in a fairly standardized form. Jazz musicians sometimes broaden the term still further to embrace all slow-tempo pieces.[21] Notable sentimental ballads of this period include, "Little Rosewood Casket" (1870), "After the Ball" (1892), and "Danny Boy" (1913).[22]
1950s–1960s
![](http://upload.wikimedia.org/wikipedia/commons/thumb/e/ee/Frank_Sinatra_in_1957.jpg/170px-Frank_Sinatra_in_1957.jpg)
Popular sentimental ballad vocalists in this era include Frank Sinatra, Ella Fitzgerald, Andy Williams, Johnny Mathis, Connie Francis and Perry Como. Their recordings were usually lush orchestral arrangements of current or recent rock and roll or pop hit songs. The most popular and enduring songs from this style of music are known as "pop standards" or (where relevant) "American standards". Many vocalists became involved in 1960s' vocal jazz and the rebirth of swing music, which was sometimes referred to as "easy listening" and was, in essence, a revival of popularity of the "sweet bands" that had been popular during the swing era, but with more emphasis on the vocalist and the sentimentality.[24]
1970s
Soft rock, a subgenre that mainly consists of ballads, was derived from folk rock in the late 1960s, using acoustic instruments and putting more emphasis on melody and harmonies. Major sentimental ballad artists of this decade included Barbra Streisand, Nana Mouskouri, Elton John, Engelbert Humperdinck, Carole King, Cat Stevens and James Taylor. By the early 1970s, softer ballad songs by the Carpenters, Anne Murray, John Denver and Barry Manilow began to be played more often on "Top 40" radio.[citation needed]
Some rock-oriented acts such as Queen and the Eagles also produced ballads.[1][25][26]
When the word ballad appears in the title of a song, as for example in the Beatles' "The Ballad of John and Yoko" (1969) or Billy Joel's "The Ballad of Billy the Kid" (1974), the folk music sense is generally implied. The term ballad is also sometimes applied to strophic story-songs more generally, such as Don McLean's "American Pie" (1971).[27][28][29]
1980s–1990s
![](http://upload.wikimedia.org/wikipedia/commons/thumb/7/77/Celine_Dion_Concert_Singing_%27Taking_Chances%27_2008.jpg/220px-Celine_Dion_Concert_Singing_%27Taking_Chances%27_2008.jpg)
Prominent artists who made sentimental ballads in the 1980s include Stevie Wonder, Lionel Richie, Peabo Bryson, Barry White, Luther Vandross and George Michael.[31]
The 1990s mainstream pop/R&B singers such as Boyz II Men, Celine Dion, Shania Twain, Whitney Houston and Mariah Carey.[32]
Newer female singer-songwriters such as Sarah McLachlan, Natalie Merchant, Jewel, Melissa Etheridge and Sheryl Crow also broke through on the AC chart during this time owing to their ballad-sound.[33]
2000s
A popular trend in the early 2000s was remixing or re-recording dance music hits into acoustic ballads (for example, the "Candlelight Mix" versions of "Heaven" by DJ Sammy, "Listen to Your Heart" by DHT, and "Everytime We Touch" by Cascada).[34]
2010s
In the 2010s, indie musicians like Imagine Dragons, Mumford & Sons, Of Monsters and Men, the Lumineers and Ed Sheeran had indie songs that crossed over to the adult contemporary charts, due to their ballad-heavy sound.[35]
Genres
Jazz and traditional pop
Most pop standard and jazz ballads are built from a single, introductory verse, usually around 16 bars in length, and they end on the dominant – the chorus or refrain, usually 16 or 32 bars long and in AABA form (though other forms, such as ABAC, are not uncommon). In AABA forms, the B section is usually referred to as the bridge; often a brief coda, sometimes based on material from the bridge, is added, as in "Over the Rainbow".[36][37]
Pop and R&B ballads
The most common use of the term "ballad" in modern pop and R&B music is for an emotional song about romance, breakup and/or longing.[22] The singer would usually lament an unrequited or lost love, either where one party is oblivious to the existence of the other, where one party has moved on, or where a romantic affair has affected the relationship.[38][39]
Power ballads
Power ballad | |
---|---|
![]() To emphasize the emotional aspect of a power ballad, crowds customarily hold up lighters adjusted to produce a large flame (or, as a more recent alternative, a turned-on smartphone screen or flashlight function).[40][41] | |
Stylistic origins | |
Cultural origins | Early 1970s |
Other topics | |
Simon Frith, the British sociomusicologist and former rock critic, identifies the origins of the power ballad in the emotional singing of soul artists, particularly Ray Charles, and the adaptation of this style by performers such as Eric Burdon, Tom Jones, and Joe Cocker to produce slow-tempo songs often building to a loud and emotive chorus backed by drums, electric guitars, and sometimes choirs.[42] According to Charles Aaron, power ballads came into existence in the early 1970s, when rock stars attempted to convey profound messages to audiences while retaining their "macho rocker" mystique.[43] The hard rock power ballad typically expresses love or heartache through its lyrics, shifting into wordless intensity and emotional transcendence with heavy drumming and a distorted electric guitar solo representing the "power" in the power ballad.[44][45]
Aaron argues that the hard rock power ballad broke into the mainstream of American consciousness in 1976 as FM radio gave a new lease of life to earlier impassioned songs such as Badfinger's "Without You", Led Zeppelin's "Stairway to Heaven" and Aerosmith's "Dream On".[43] The Carpenters' 1972 single "Goodbye to Love" has also been identified as a prototype of the power ballad, driven by the hard rock guitar sound of Tony Peluso.[46] British heavy metal band Judas Priest wrote many power ballads, starting with "Dreamer Deceiver" and "Beyond the Realms of Death".[45]
American rock band Styx has been credited with releasing the first true power ballad, the song "Lady", in 1973.[47] Its writer, Dennis DeYoung is called the "father of the power ballad".[48] In the 1980s, bands such as Journey and REO Speedwagon contributed to the power ballad becoming a staple of hard rock performers who wanted to gain more radio airplay and satisfy their female audience members with a slower, more emotional love song.[citation needed] Mötley Crüe was one of the bands showcasing this style, with songs such as "Home Sweet Home" and "You're All I Need".[49] Nearly every hard rock and glam metal band wrote at least one power ballad for each album, and record labels often released these as the album's second single.[citation needed]
When grunge appeared as a counterpoint to the excesses of 1980s hard rock and glam metal, one of the distinctions of the grunge style was the absence of power ballads;[49] however, some songs from this era such as "Rooster" by Alice in Chains (1992), which Ned Raggett described as the band's "own particular approach" to the style,[50] and "Black Hole Sun" by Soundgarden (1994)[51] have been described using this term, and songs in its subgenre post-grunge included ballads.[citation needed]
Latin ballad
![](http://upload.wikimedia.org/wikipedia/en/thumb/b/b7/Luismiguelcomplices2.jpg/200px-Luismiguelcomplices2.jpg)
Latin ballad refers to the ballad derived from bolero that originated in the early-1960s in Latin America and Spain.
One of the most well-known Latin ballad singers of the 1970s and 1980s was José José. Known as "El Principe de La Cancion" (The Prince of the Song), he sold over 40 million albums in his career and became a huge influence to later ballad singers such as Cristian Castro, Alejandro Fernández, Nelson Ned, Manuel Mijares and Lupita D'Alessio.[52]
See also
References
- ^ a b Curtis, James M. (1987). Rock Eras: Interpretations of Music and Society, 1954-1984. Popular Press. p. 236. ISBN 978-0-87972-369-9.
- ^ Bronson, Bertrand Harris (1969). The Ballad as Song. University of California Press. ISBN 978-0-520-01399-5.[page needed]
- ^ Ord, J. (1990). Bothy Songs and Ballads. Edinburgh: John Donald.
- ^ "Pop Music – What Is Pop Music – A Definition and Brief History". Top40.about.com. 7 September 2012. Retrieved 3 October 2012.
- ^ P. Buckley, The Rough Guide to Rock (Rough Guides, 3rd edn., 2003), p. 378.
- ^ Witmer. See also Middleton (I,4,i).
- ^ W. Apel, Harvard Dictionary of Music (Harvard, 1944; 2nd edn., 1972), p. 70.
- ^ A. Jacobs, A Short History of Western Music (1972, Penguin, 1976), p. 21.
- ^ W. Apel, Harvard Dictionary of Music (1944, Harvard, 1972), pp. 70–72.
- ^ a b J. E. Housman, British Popular Ballads (1952, London: Ayer Publishing, 1969), p. 15.
- ^ A. Jacobs, A Short History of Western Music (Penguin 1972, 1976), p. 20.
- ^ a b A. N. Bold, The Ballad (Routledge, 1979), p. 5.
- ^ B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press, 2005), p. 45.
- ^ "'After the Ball': Lyrics from the Biggest Hit of the 1890s", History Matters
- ^ Smith, Kathleen E. R. (2003). God Bless America: Tin Pan Alley Goes to War. The University Press of Kentucky. p. 91. ISBN 0813122562.
- ^ "Popular Ballads", The Broadview Anthology of British Literature: The Restoration and the Eighteenth Century, p. 610.
- ^ M. Lubbock, The Complete Book of Light Opera (New York: Appleton-Century-Crofts, 1962) pp. 467-68.
- ^ D. Head and I. Ousby, The Cambridge Guide to Literature in English (Cambridge University Press, 2006), p. 66.
- ^ T. A. Green, Folklore: An Encyclopedia of Beliefs, Customs, Tales, Music, and Art (ABC-CLIO, 1997), p. 352.
- ^ Child, F., J. (1898). The English and Scottish Popular Ballads, Boston: Houghton, Mifflin and Co
- ^ Temperley (II,2).
- ^ a b N. Cohen, Folk Music: a Regional Exploration (Greenwood, 2005), p. 297.
- ^ Fusilli, Jim (13 May 2008). "Sinatra as Idol – Not Artist". The Wall Street Journal. Retrieved 15 May 2008.
- ^ Goldsmith, Melissa Ursula Dawn (2005). "Lounge Caravan: A Selective Discography". Notes. 61 (4): 1060–1083. doi:10.1353/not.2005.0059. S2CID 191619811. Project MUSE 183067.
- ^ Soft Rock. "Soft Rock : Significant Albums, Artists and Songs, Most Viewed". AllMusic. Retrieved 9 January 2013.
- ^ "Soft Rock - Profile of the Mellow, Romantic Soft Rock of the '70s and Early '80s". 80music.about.com. 12 April 2012. Retrieved 9 January 2013.
- ^ D. R. Adams, Rock 'n' roll and the Cleveland Connection Music of the Great Lakes (Kent State University Press, 2002), ISBN 0-87338-691-4, p. 70.
- ^ C. H. Sterling, M. C. Keith, Sounds of Change: a History of FM broadcasting in America (UNC Press, 2008), pp. 136-7.
- ^ "Journey: The band who did not stop believing". BBC News. 12 November 2010. Retrieved 6 December 2010.
- ^ Erlewine, Stephen Thomas. Let's Talk About Love: Album review. Allmusic. Retrieved 12 October 2009.
- ^ McNulty, Bernadette; Green, Thomas H.; Sweeting, Adam (10 September 2018). "The 50 best love songs of the 1980s". The Telegraph.
- ^ Roberts, Amy (2 February 2018). "This '90s Love Song Playlist Is The Only Thing You'll Need To Listen To This Valentine's Day". Bustle.
- ^ Hyatt, Wesley (1999). The Billboard Book of Number One Adult Contemporary Hits. New York City: Billboard Books. ISBN 978-0-823-07693-2.[page needed]
- ^ Whitburn, Joel (2007). Billboard Top Adult Songs 1961-2006 (Record Research Inc.), page 373.
- ^ Kelley, Frannie (26 October 2011). "Has 'Indie' Become 'Adult Contemporary'?". The Record. NPR.
- ^ D. Randel, The New Harvard Dictionary of Music, (Cambridge MS: Harvard University Press, 1986) ISBN 0-674-61525-5, p. 68.
- ^ Buchan, D. (1972). The Ballad and the Folk. East Linton: Tuckwell Press
- ^ Smith, L.: Elvis Costello, Joni Mitchell, and the Torch Song Tradition, p. 9. Praeger Publishers, 2004.
- ^ Allan Forte, M. R.: Listening to Classic American Popular Songs, p. 203. Yale University Press, 2001.
- ^ Powers, Ann (1 February 1998). "POP VIEW; The Male Rock Anthem: Going All to Pieces". The New York Times.
- ^ Burgess, Darrin (15 July 2006). "Rock Concert Question: Are Lighter Salutes Bad for the Environment?". Live Science.
- ^ S. Frith, "Pop Music" in S. Frith, W. Straw and J. Street, The Cambridge Companion to Pop and Rock (Cambridge: Cambridge University Press), pp. 100-1.
- ^ a b Aaron, Charles (2002). "Don't Fight the Power". In Jonathan Lethem; Paul Bresnick (eds.). Da Capo Best Music Writing 2002: The Year's Finest Writing on Rock, Pop, Jazz, Country, and More. Da Capo Press. p. 132. ISBN 978-0-306-81166-1.
- ^ Metzer, David (2017). The Ballad in American Popular Music: From Elvis to Beyoncé. Cambridge University Press. p. 144. ISBN 9781108509749.
- ^ a b Brown, Andy R. (2016). "The Ballad of Heavy Metal: Re-thinking Artistic and Commercial Strategies in the Mainstreaming of Metal and Hard Rock". In Gabby Riches; Dave Snell; Bryan Bardine; Brenda Gardenour Walter (eds.). Heavy Metal Studies and Popular Culture. Springer. p. 83. ISBN 9781137456687.
- ^ Perrone, Pierre (2 August 2010). "Tony Peluso: Guitarist whose solos on The Carpenters' 'Goodbye to Love' ushered in the power-ballad era". The Independent. Retrieved 4 February 2013.
- ^ Dominic, Serene. "Power Me, Ballad Me: The Power Ballad Timeline". Detroit Metro Times. Retrieved 21 February 2022.
- ^ "Dennis DeYoung on Story of Styx 70s Hit Lady". YouTube. 25 August 2020. Retrieved 21 February 2022.
- ^ a b Harrison, Thomas (2011). Music of the 1980s. ABC-CLIO. p. 41. ISBN 9780313366000.
- ^ Raggett, Ned. "Rooster by Alice in Chains". AllMusic. Retrieved 15 June 2023.
- ^ Law, Sam (10 May 2021). "The 20 greatest Soundgarden songs – ranked". Kerrang!. Retrieved 15 June 2023.
- ^ "José José "Esta es mi Vida" LANZAMIENTO". Famaweb.com. Archived from the original on 19 March 2014. Retrieved 5 June 2014.
External links
- Smithsonian Global Sound: The Music of Poetry—audio samples of poems, hymns and songs in ballad meter.
- The Oxford Book of Ballads, complete 1910 book by Arthur Quiller-Couch