View source for Ballad

{{short description|Verse set to music}}
{{hatnote group|
{{For|the slow form of popular music such as love songs and pop & rock ballads|Sentimental ballad}}
{{Other uses}}
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{{Redirect|Balladeering|the album|Balladeering (album)}}
[[File:Maria_Wiik_-_Ballad.jpg|thumb|[[Maria Wiik]], ''Ballad'' (1898)]]

A '''ballad''' is a form of verse, often a narrative set to music. Ballads were particularly characteristic of the popular poetry and song of Great Britain and Ireland from the [[Late Middle Ages]] until the 19th century. They were widely used across Europe, and later in Australia, North Africa, North America and South America.

While ballads have no prescribed structure and may vary in their number of lines and stanzas, many ballads employ [[quatrain]]s with <math>\mathrm{ABCB}</math> or <math>\mathrm{ABAB}</math> [[rhyme scheme]]s, 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, [[couplet]]s rarely appear in ballads.

Many ballads were written and sold as single-sheet [[Broadside (music)|broadsides]]. The form 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 a title for other media such as a film.

==Origins==
A ballad  is a form of verse, often a [[narrative]] set to [[music]]. Ballads derive from the medieval [[Music of France|French]] ''chanson balladée'' or ''[[Ballade (forme fixe)|ballade]]'', which were originally "dancing songs" ([[Latin|L]]: ''ballare'', to dance), yet becoming "stylized forms of solo song" before being adopted in England.<ref>{{Cite web|url=http://archive.org/details/in.ernet.dli.2015.215605|title=Harvard Dictionary Of Music|first=Willi|last=Apel|date=December 20, 1944|via=Internet Archive}}</ref> As a narrative song, their theme and function may originate from [[Scandinavia]]n and [[Germanic peoples|Germanic]] traditions of storytelling that can be seen in poems such as ''[[Beowulf]]''.<ref name="Houseman1952">J. E. Housman, ''British Popular Ballads'' (1952, London: Ayer Publishing, 1969), p. 15.</ref> Musically they were influenced by the Minnelieder of the [[Minnesinger|Minnesang]] tradition.<ref>A. Jacobs, ''A Short History of Western Music'' (Penguin 1972, 1976), p. 20.</ref> The earliest example of a recognizable ballad in form in [[England]] is "[[Judas (ballad)|Judas]]" in a 13th-century [[manuscript]].<ref name="N. Bold, 1979 p. 5">A. N. Bold, ''The Ballad'' (Routledge, 1979), p. 5.</ref>

==Ballad form==
{{See also|AABA form}}
[[File:Here begynneth a gest of Robyn Hode.png|thumb|A sixteenth-century printed ballad, the [[A Gest of Robyn Hode]]]]
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.<ref name="British Literature pg 610">"Popular Ballads", ''The Broadview Anthology of British Literature: The Restoration and the Eighteenth Century'', p. 610.</ref> Most northern and west European ballads are written in [[ballad stanza]]s or [[quatrains]] (four-line [[stanzas]]) of alternating lines of [[Iamb (foot)|iambic]] (an unstressed followed by a stressed syllable) [[tetrameter]] (eight syllables) and iambic [[trimeter]] (six syllables), known as [[Common metre#Variants|ballad meter]]. Usually, only the second and fourth line of a quatrain are rhymed (in the scheme <math>\mathrm{a,b,c,b}</math>), which has been taken to suggest that, originally, ballads consisted of couplets (two lines) of rhymed verse, each of 14 syllables.<ref name="I. Ousby, 2006 p. 66">D. Head and I. Ousby, ''The Cambridge Guide to Literature in English'' (Cambridge University Press, 2006), p. 66.</ref> This can be seen in this stanza from "[[Lord Thomas and Fair Annet]]":

The '''horse''' | fair '''Ann''' | et '''rode''' | up'''on''' |<br />
He '''amb''' | led '''like''' | the '''wind''' |,<br />
With '''sil''' | ver '''he''' | was '''shod''' | be'''fore''',<br />
With '''burn''' | ing '''gold''' | be'''hind''' |.<ref name="Houseman1952" />

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 ''romances'', which are [[octosyllabic]] and use [[assonance]] rather than rhyme.<ref>T. A. Green, ''Folklore: An Encyclopedia of Beliefs, Customs, Tales, Music, and Art'' ([[ABC-CLIO]], 1997), p. 81.</ref>

Ballads usually are heavily influenced by 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 language|Scots]] ballad "Tam Lin".<ref>"Popular Ballads" ''The Broadview Anthology of British Literature: The Restoration and the Eighteenth Century'', pp. 610-17.</ref> The ballads do not have any known author or correct version; instead, having been passed down mainly by oral tradition since 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 [[Thomas Percy (bishop of Dromore)|Bishop Thomas Percy]] (1729–1811) to publish volumes of popular ballads.<ref name="British Literature pg 610" />

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.<ref name="I. Ousby, 2006 p. 66" /> Themes concerning rural labourers and their sexuality are common, and there are many ballads based on the Robin Hood legend.<ref>{{cite web|url=http://www.history.ac.uk/reviews/review/980|title=Songs of Protest, Songs of Love: Popular Ballads in Eighteenth-Century Britain {{!}} Reviews in History|website=www.history.ac.uk|language=en|access-date=2017-12-12|archive-date=2018-03-04|archive-url=https://web.archive.org/web/20180304105510/http://www.history.ac.uk/reviews/review/980|url-status=dead}}</ref> 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.<ref name="Houseman1952" />

==Composition==
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 was one single original author.<ref name="N. Bold, 1979 p. 5" /> 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.<ref>M. Hawkins-Dady, ''Reader's Guide to Literature in English'' (Taylor & Francis, 1996), p. 54.</ref> More recently scholars have pointed to the interchange of oral and written forms of the ballad.<ref name="A. Green, 1997 p. 353">T. A. Green, ''Folklore: An Encyclopedia of Beliefs, Customs, Tales, Music, and Art'' (ABC-CLIO, 1997), p. 353.</ref>

==Transmission==
[[File:Scott's Minstrelsy Of The Scottish Border.JPG|thumb|[[Walter Scott|Walter Scott's]] ''[[Minstrelsy of the Scottish Border]]'']]
The transmission of ballads comprises a key stage in their re-composition. In romantic terms this process is often dramatized as a narrative of degeneration away from the pure 'folk memory' or 'immemorial tradition'.<ref>[[Ruth Finnegan]], ''Oral Poetry: Its Nature, Significance and Social Context'' (Cambridge University Press, 1977), p. 140.</ref> 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 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'.<ref>"The Influence of transmission on the English Ballads", ''Modern Language Review'' 11 (1916), p. 387.</ref>

==Classification==
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 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.

===Traditional ballads===
{{See also|Child Ballads}}
[[File:The-Twa-Corbies.jpg|right|thumb|Illustration by [[Arthur Rackham]] of the Scots ballad "[[The Twa Corbies]]"]]
The traditional, classical or popular (meaning of the people) ballad has been seen as beginning with the wandering [[minstrels]] of late medieval Europe.<ref name="Houseman1952" /> From 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|Wynkyn de Worde's]] collection of Robin Hood ballads printed about 1495.<ref name="Sweers2005">B. Sweers, ''Electric Folk: The Changing Face of English Traditional Music'' (Oxford: Oxford University Press, 2005), p. 45.</ref>

Early collections of English ballads were made by [[Samuel Pepys]] (1633–1703) and in the [[Roxburghe Ballads]] collected by [[Robert Harley, 1st Earl of Oxford and Earl Mortimer|Robert Harley]], (1661&ndash;1724), which paralleled the work in Scotland by [[Walter Scott]] and [[Robert Burns]].<ref name=Sweers2005/> Inspired by his reading as a teenager of ''[[Reliques of Ancient English Poetry]]'' by [[Thomas Percy (bishop of Dromore)|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 the Scottish Border]]''. Burns collaborated with [[James Johnson (engraver)|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 Thomson (musician)|George Thompson]] on ''[[A Select Collection of Original Scottish Airs for the Voice]]''.<ref name="Scott">{{cite book|last=Gregory|first=E. David |title=Victorian Songhunters: The Recovery and Editing of English Vernacular Ballads and Folk Lyrics, 1820-1883|url=https://archive.org/details/victoriansonghun0000greg|url-access=registration|access-date=August 30, 2017|date=April 13, 2006|publisher=Scarecrow Press|isbn=978-1-4616-7417-7|pages=[https://archive.org/details/victoriansonghun0000greg/page/42 42]–43}}</ref>

Both Northern English and Southern Scots shared in the identified tradition of [[Border ballads]], particularly evinced by the cross-border narrative in versions of "[[The Ballad of Chevy Chase]]" sometimes associated with the Lancashire-born sixteenth-century minstrel [[Richard Sheale]].<ref name="Gregory2006">D. Gregory, '"The Songs of the People for Me": The Victorian Rediscovery of Lancashire Vernacular Song', ''Canadian Folk Music/Musique folklorique canadienne'', 40 (2006), pp. 12-21.</ref>
[[File:Illustration to the ballad Young Beckie from "Some British Ballads".jpg|right|thumb|Illustration by [[Arthur Rackham]] to ''[[Young Bekie]].'']]
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.<ref>Robin Ganev,''Songs of Protest, Songs of Love: Popular Ballads in 18th Century Britain''</ref> James Davey has suggested that 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.<ref>{{cite web |url=http://enterprise.gre.ac.uk/news/articles/2011/gmi-ballads-talk |title=Talk examines ballads and naval recruitment in the 18th century - 2011 News - Articles - News - University of Greenwich Business and Enterprise |access-date=2012-08-07 |archive-url=https://web.archive.org/web/20121024235716/http://enterprise.gre.ac.uk/news/articles/2011/gmi-ballads-talk |archive-date=2012-10-24 |url-status=dead }}</ref>

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]].<ref name="N. Bold, 1979 p. 5"/> They attempted to record and classify all the known ballads and variants in their chosen regions. 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]]''.<ref>T. A. Green, ''Folklore: An Encyclopedia of Beliefs, Customs, Tales, Music, and Art'' (ABC-CLIO, 1997), p. 352.</ref> 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.<ref name=Houseman1952/> The traditional form and content of the ballad were modified to form the basis for twenty-three bawdy pornographic ballads that appeared in the underground Victorian magazine ''[[The Pearl (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.<ref>Thomas J. Joudrey, "Against Communal Nostalgia: Reconstructing Sociality in the Pornographic Ballad," ''Victorian Poetry'' 54.4 (2017).</ref>

===Broadsides===
{{Main article|Broadside (music)}}
[[File:Tragical Ballad 18th century.png|right|thumb|An 18th-century broadside ballad: ''The tragical ballad: or, the lady who fell in love with her serving-man''.]]
Broadside ballads (also known as 'broadsheet', 'stall', 'vulgar' or 'come all ye' ballads) were 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.<ref>E. Nebeker, [http://ebba.english.ucsb.edu/page/heyday-of-the-broadside-ballad "The Heyday of the Broadside Ballad"], ''English Broadside Ballad Archive, University of California-Santa Barbara'', retrieved 15 August 2011.</ref> 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.<ref>G. Newman and L. E. Brown, ''Britain in the Hanoverian Age, 1714–1837: An Encyclopedia'' (Taylor & Francis, 1997), pp. 39-40.</ref> They were produced in huge numbers, with over 400,000 being sold in England annually by the 1660s.<ref>B. Capp, 'Popular literature', in B. Reay, ed., ''Popular Culture in Seventeenth-Century England'' (Routledge, 1985), p. 199.</ref> Tessa Watt estimates the number of copies sold may have been in the millions.<ref>T. Watt, ''Cheap Print and Popular Piety, 1550-1640'' (Cambridge University Press, 1991), p. 11.</ref> Many were sold by travelling [[chapmen]] in city streets or at fairs.<ref>M. Spufford, ''Small Books and Pleasant Histories: Popular Fiction and Its Readership in Seventeenth-Century England'' (Cambridge University Press, 1985), pp. 111-28.</ref> 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.<ref>B. Capp, 'Popular literature', in B. Reay, ed., ''Popular Culture in Seventeenth-Century England'' (Routledge, 1985), p. 204.</ref>

===Literary ballads===
Literary or lyrical ballads grew out of an increasing interest in 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 the Ancient Mariner]]''. Wordsworth, Coleridge, and Keats were attracted to the simple and natural style of these folk ballads and tried to imitate it.<ref name="British Literature pg 610" /> At the same time in Germany [[Johann Wolfgang von Goethe|Goethe]] cooperated with [[Friedrich Schiller|Schiller]] on a series of ballads, some of which were later set to music by [[Franz Schubert|Schubert]].<ref>J. R. Williams, ''The Life of Goethe'' (Blackwell Publishing, 2001), pp. 106-8.</ref> 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).<ref>S. Ledger, S. McCracken, ''Cultural Politics at the Fin de Siècle'' (Cambridge University Press, 1995), p. 152.</ref>

==Ballad operas==
{{Main article|Ballad opera}}
[[File:William Hogarth 016.jpg|thumb|Painting based on ''[[The Beggar's Opera]]'', Act III Scene 2, [[William Hogarth]], {{Circa|1728}}]]
In the 18th century ballad operas developed as a form of [[England|English]] [[stage play|stage entertainment]], partly in opposition to the Italian domination of the London operatic scene.<ref>M. Lubbock, ''The Complete Book of Light Opera'' (New York: Appleton-Century-Crofts, 1962) pp. 467-68.</ref> It consisted of racy and often [[Satire|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 the Italian opera, the ballad operas were set to the music of popular folk songs and dealt with lower-class characters.<ref>[https://www.britannica.com/EBchecked/topic/50485/ballad-opera "Ballad opera"], ''Encyclopædia Britannica'', retrieved 7 April 2015.</ref> 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 [[Paris]]ian vaudeville and the burlesques and musical plays of [[Thomas d'Urfey]] (1653–1723), a number of whose collected ballads they used in their work.<ref>F. Kidson, ''The Beggar's Opera: Its Predecessors and Successors'' (Cambridge University Press, 1969), p. 71.</ref> 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.<ref>M. Lubbock, ''The Complete Book of Light Opera'' (New York: Appleton-Century-Crofts, 1962), pp. 467-68.</ref> Ballad opera was attempted in America and Prussia. Later it moved into a more pastoral form, like [[Isaac Bickerstaffe|Isaac Bickerstaffe's]] ''Love in a Village'' (1763) and [[William Shield|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|Gilbert and Sullivan's]] early works like ''[[The Sorcerer]]'' as well as in the modern musical.<ref>G. Wren, ''A Most Ingenious Paradox: The Art of Gilbert and Sullivan'' (Oxford University Press, 2006), p. 41.</ref>

In the 20th century, one of the most influential plays, [[Kurt Weill]] and [[Bertolt Brecht|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.<ref>K. Lawrence, ''Decolonizing Tradition: New Views of Twentieth-century "British" Literary Canons'' (University of Illinois Press, 1992), p. 30.</ref> The term ballad opera has also been used to describe musicals using folk music, such as ''The Martins and the Coys'' in 1944, and [[Peter Bellamy|Peter Bellamy's]] ''The Transports'' in 1977.<ref>A. J. Aby and [[Paul Gruchow|P. Gruchow]], ''The North Star State: A Minnesota History Reader'', (Minnesota Historical Society Press, 2002), p. 461.</ref> The satiric elements of ballad opera can be seen in some modern musicals such as ''[[Chicago (musical)|Chicago]]'' and ''[[Cabaret (musical)|Cabaret]]''.<ref>L. Lehrman, ''Marc Blitzstein: A Bio-bibliography'' (Greenwood, 2005), p. 568.</ref>

==Beyond Europe==
===American ballads===
[[File:John Henry-27527.jpg|thumb|right|Statue of [[John Henry (folklore)|John Henry]] outside the town of Talcott in [[Summers County, West Virginia]]]]
Some 300 ballads sung in North America have been identified as having origins in Scottish traditional or broadside ballads.<ref name=Cohen2005>N. Cohen, ''Folk Music: a Regional Exploration'' (Greenwood, 2005), pp. 14-29.</ref> Examples include '[[The Streets of Laredo]]', which was found in Great Britain and Ireland as 'The Unfortunate Rake'; however, a further 400 have been identified as originating in America, including among the best known, '[[The Ballad of Davy Crockett]]' and '[[Jesse James (folk song)|Jesse James]]'.<ref name=Cohen2005/> 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.<ref name=Cohen2005/> They are usually considered closest in form to British broadside ballads and in terms of style are largely indistinguishable, however, they demonstrate a particular concern with occupations, journalistic style and often lack the ribaldry of British broadside ballads.<ref name="A. Green, 1997 p. 353"/>

===Blues ballads===
{{Main article|Blues ballad}}
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.<ref name=Cohen2005/> They were often accompanied by banjo and guitar which followed [[the blues]] musical format.<ref name="A. Green, 1997 p. 353"/> The most famous blues ballads include those about [[John Henry (folklore)|John Henry]] and [[Casey Jones]].<ref name=Cohen2005/>

===Bush ballads===
{{Main article|Bush ballad}}
[[File:The Old Bush Songs by Banio Paterson.jpg|thumb|Cover to [[Banjo Paterson]]'s seminal 1905 collection of bush ballads, entitled ''The Old Bush Songs'']]
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 the authors and performers are often referred to as bush bards.<ref name="abc.net.au">[[Kerry O'Brien (journalist)|Kerry O'Brien]] December 10, 2003 7:30 Report, [http://www.abc.net.au/7.30/content/2003/s1007523.htm abc.net.au] {{Webarchive|url=https://web.archive.org/web/20100110082829/http://www.abc.net.au/7.30/content/2003/s1007523.htm |date=2010-01-10 }}</ref> The 19th century was the golden age of bush ballads. Several collectors have catalogued the songs including [[John Meredith (folklorist)|John Meredith]] whose recording in the 1950s became the basis of the collection in the [[National Library of Australia]].<ref name="abc.net.au"/> 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, the [[1891 Australian shearers' strike]], class conflicts between the landless working class and the [[Squatting (pastoral)|squatters]] (landowners), and [[outlaw]]s such as [[Ned Kelly]], as well as love interests and more modern fare such as [[Truck driver|trucking]].<ref>G. Smith, ''Singing Australian: A History of Folk and Country Music'' (Pluto Press Australia, 2005), p. 2.</ref> The most famous bush ballad is "[[Waltzing Matilda]]", which has been called "the unofficial national anthem of Australia".<ref>{{cite web |title=Who'll come a waltzing Matilda with me? |url=http://www.nla.gov.au/epubs/waltzingmatilda/ |website=National Library of Australia |access-date=15 November 2023 |archive-url=https://web.archive.org/web/20030602190448/http://www.nla.gov.au/epubs/waltzingmatilda/index.html |archive-date=2 June 2003 |url-status=dead}}{{cbignore}}</ref>

==Sentimental ballads==
{{Main article|Sentimental ballad}}
Sentimental ballads, sometimes called "tear-jerkers" or "drawing-room ballads" owing to their popularity with 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 (music)|broadside ballads]], but with [[sheet music|printed music]], and usually newly composed). Such songs include "Little Rosewood Casket" (1870), "[[After the Ball (song)|After the Ball]]" (1892) and "[[Danny Boy]]".<ref name=Cohen2005/> The association with sentimentality led to the term "ballad" being used for slow [[love song]]s from the 1950s onwards. Modern variations include "[[jazz ballads]]", "[[pop ballads]]", "[[rock ballads]]", "[[R&B ballads]]" and "[[power ballads]]". Many ballads are included in 20th and 21st century modern music, such as "[[Swear It Again]]" (1998) by "[[Westlife]]".<ref name=Cohen2005p297>N. Cohen, ''Folk Music: a Regional Exploration'' (Greenwood, 2005), p. 297.</ref>

==See also==
{{columns-list|colwidth=20em|
* [[Alfred Perceval Graves]]
* [[Corrido]] and [[Narcocorrido]]
* [[List of the Child Ballads]]
* [[List of folk song collections]]
* [[List of Irish ballads]]
* [[List of rock ballads]]
* [[Murder ballad]]
* [[Roud Folk Song Index]]
* [[Song structure]]
* [[Torch song]]
* [[Vaar]]
}}

== Citations ==
{{Reflist|25em}}

==References and further reading==
* Dugaw, Dianne. ''Deep Play: John Gay and the Invention of Modernity''. Newark, Del.: University of Delaware Press, 2001. Print.
* {{Cite Grove|title=Popular Music (I)|last=Middleton |first=Richard |author-link=Richard Middleton (musicologist)|date=13 January 2015 |orig-year=2001 |url=http://www.oxfordmusiconline.com/subscriber/article/grove/music/43179pg1}}
* Randel, Don (1986). ''The New Harvard Dictionary of Music''. Cambridge: Harvard University Press. {{ISBN|0-674-61525-5}}.
* {{Cite Grove|title=Ballad (from Lat. ballare: 'to dance') |last=Temperley |first=Nicholas |date=25 July 2013 |orig-year=2001 |url=http://www.oxfordmusiconline.com/subscriber/article/grove/music/01879}}
* Winton, Calhoun. ''John Gay and the London Theatre''. Lexington: University Press of Kentucky, 1993. Print.
* {{Cite Grove|title=Ballad (jazz) |last=Witmer |first=Robert |date= 14 October 2011 |orig-year=20 January 2002 |url=http://www.oxfordmusiconline.com/subscriber/article/grove/music/J023200}}
* Marcello Sorce Keller, "Sul castel di mirabel: Life of a Ballad in Oral Tradition and Choral Practice", Ethnomusicology, XXX(1986), no. 3, 449- 469.

==External links==
{{Commons category|Ballads}}
{{wikiquote|Ballads}}
* [https://web.archive.org/web/20110311221232/http://literaryballadarchive.com/en.html The British Literary Ballads Archive]
* [http://www.bodley.ox.ac.uk/ballads/ballads.htm The Bodleian Library Ballad Collection: view facsimiles of printed ballads]
* [http://ebba.english.ucsb.edu The English Broadside Ballad Archive: searchable database of ballad images, citations, and recordings]
* [http://www.cardiff.ac.uk/special-collections/subject-guides/welsh-ballads Welsh Ballads resource guide]
* [https://balladindex.org The Traditional Ballad Index]
* [http://www.traditionalmusic.co.uk/broadside-ballads/broadside-ballads.html Black-letter Broadside Ballads Of The years 1595-1639 From the Collection of Samuel Pepys]
* [https://web.archive.org/web/20070426114919/http://www.smithsonianglobalsound.org/archives_05.aspx Smithsonian Global Sound: The Music of Poetry]—audio samples of poems, hymns and songs in ballad meter.
* [http://www.bartleby.com/243/ The Oxford Book of Ballads, complete 1910 book by Arthur Quiller-Couch]
* [http://ebba.english.ucsb.edu English Broadside Ballad Archive]—an archive of images and recordings of over 4,000 pre-1700 broadside ballads
* {{librivox book | title=A Book of Old English Ballads | author=George Wharton EDWARDS}}

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[[Category:Ballads| ]]
[[Category:Folk music]]
[[Category:Folk poetry]]
[[Category:Poetic forms]]