The National-Historical Ballad in the Musical Art of Romanticism: Towards Posing the Problem
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Abstract
As the result of systematic analysis of the romantic of the two branches ballad genre, the taboo
and the national-historical ones, their affinity (their narrative qualities, dramatic substance and
incorporation of the fantastic element) and the individual signs of the national-historical genre
model are distinguished. Examination is made of its genre-related phenomenological markers: the
genre code “The Human Being and the Historical Tragedy of the People”; the general intonation of
the Nordic sublime genre of; the protagonists are – the hero, his beloved and the narrator. Carrying
out the search for the archetypal regular laws in the storylines, the motive complexes the genrerelated
semantic lines of character of the heroes in the archetypal construction of the genre on
the level of composition and dramaturgy, the authors arrive at the conclusion that the nationalhistorical
ballad, while preserving its logical-structural content, converts the “general intonation” of
the genre, supplanting the category of irrational fear. The heroes of the ballad receive a “reversing”:
the infernal newcomer is replaced by the warrior, the narrator – by the singer-prophet, and the selfsacrificing
beloved – by the heroic maiden.
On the basis of analysis of works by John Blackwood McEwen, Arnold Bax, Horatio Parker,
Gerard Bunk and Franz Poenitz the methods of musical representation of the mentioned heroes
are examined. It is noted that in the mature formation of the genre each hero becomes attributed
with a stable lexical-intonational sphere. The battle, panegyric and heroic-dramatic style present
the distinctive features of the warrior, the female lamentation and Nordic landscape comprise the
musical portrait of the maid of the North, whereas the musical “emblem” of the bard is taken on by
the odic and song-narrative style.
Keywords: romanticism, genre archetype, national-historical ballad.
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