Ballads and Performance: The Multimodal Stage in Early Modern EnglandMain MenuIntroduction: Multimedia and Multimodal TheatricalityShakespeare in Snippets: Ballads, Plays, and the Performance of Remediation"Hear for your love, and buy for your money": Ballads and Theater as Experiential Commodities"She’s Crafty, She Gets Around: Women’s Craft and Commodification in Ballads"Dangerous Conjectures": Ophelia’s Ballad PerformanceBallads on the Brain: A Neurobiological HypothesisThe True Form and Shape of Caliban: Monstrous Birth at the Edge of the Human"Greensickness carrion": Re-reading Capulet through Broadside BalladsBallads+: The Tragedy of Romeo and Juliet and its After-piece JigAfterwordContributorsAcknowledgmentsPatricia Fumerton3016f95733e67d772eccfb1c6dfb5ea8694eb4bbEMC Imprint
"Ballads on the Brain: A Neurobiological Hypothesis"
12017-04-20T13:11:30-07:00Phillip Cortese0765ef0b7bac2de1106953cfa66f5580719501477562Note 3plain2017-09-15T18:24:06-07:00Phillip Cortese0765ef0b7bac2de1106953cfa66f55807195014The words in this recording were compiled from multiple sources, including the texts found in the English Broadside Ballad Archive (Fumerton) and numerous field recordings from oral tradition. To my knowledge this tune has not been indexed. I learned this tune from Dáithí Sproule, who got it from Neilí Ní Dhomhnaill from Rannafast, Donegal. It resembles the tune recorded from Sara Makem of Keady, Armagh, in 1967 (Leader and O'Boyle 1968) and that recorded from John Ban Byrne of Malinbeg, Donegal, in 1968 (Munnelly and Shields 1985).