OperaV1, PascalFrancis, Curation, bibRecord, 000906

Traditional urban entertainment in Bavaria : The Volkssänger as exemplified by Bally Prell

Identifieur interne : 000906 ( PascalFrancis/Curation ); précédent : 000905; suivant : 000907

Traditional urban entertainment in Bavaria : The Volkssänger as exemplified by Bally Prell

Auteurs : H. Frey ; L. Fujie

Source :

World of music : (Wilhelmshaven) [ 0043-8774 ] ; 1999.

RBID : Francis:529-00-11488

Descripteurs français

Pascal (Inist)
- Europe occidentale, Allemagne, Bavière, Munich, Chanson populaire, Milieu urbain, Spectacle, Répertoire, Vie quotidienne, Genre musical, Communication de masse, Changement culturel, Artiste, Femme, Chanteur, Biographie, Prell (B.), Divertissement.
Wicri :
- geographic : Allemagne.
- topic : Répertoire, Communication de masse, Femme, Biographie.

English descriptors

KwdEn :
- Artist, Bavaria, Biography, Cultural change, Entertainment, Everyday life, Germany, Mass media, Munich, Musical style, Popular song, Repertory, Show, Singer, Urban environment, Western Europe, Woman.

Abstract

The A. outlines the development of Munich Volkssänger from the middle of the 19th century to the late 1970s, portraying in the second section a particular artist of the post-war period. Volkssänger as entertainers in Munich experienced their heyday from approximately 1880 to the 1920s. This form of entertainment was not unsimilar to varieté (variety shows) but was strongly marked by regional characteristics; thematically, it took its topics from everyday life. One program typically included couplet songs, ensemble numbers, humoristic solo performances, one-act sketches and parodies. After the First World War, the mass media of movies, radio and later television changed the habits of audience reception, leading to the decline or else transformation of these forms of entertainment. Bally Prell (1922-1982), who had a beautiful tenor voice, was sensationally successful in 1953 as the "Beauty Queen of Schneizlreuth". Until her death, she was mainly identified with this song and this role and she was considered the inheritor of the Munich Volkssänger tradition. Her repertoire consisted, however, also of opera and operetta music, chansons and lieder. To the present no monographic work on this singer has appeared; the biographical sketch laid out by the A. is based upon interviews with her colleagues, friends, relatives and other witnesses of the time.

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A05				`@2 41`
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A08	`01`	`1`	`ENG`	`@1 Traditional urban entertainment in Bavaria : The Volkssänger as exemplified by Bally Prell`
A09	`01`	`1`	`ENG`	`@1 Traditional music in Bavaria: regional identity, history, and culture`
A11	`01`	`1`		`@1 FREY (H.)`
A11	`02`	`1`		`@1 FUJIE (L.) @9 trad.`
A12	`01`	`1`		`@1 BAUMANN (Max Peter) @9 ed., préf.`
A20				`@1 99-122`
A21				`@1 1999`
A23	`01`			`@0 ENG`
A43	`01`			`@1 INIST @2 25041 @5 354000080214390040`
A44				`@0 0000 @1 © 2000 INIST-CNRS. All rights reserved.`
A45				`@0 1 p.1/4`
A47	`01`	`1`		`@0 529-00-11488`
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A61				`@0 A`
A64	`01`	`1`		`@0 World of music : (Wilhelmshaven)`
A66	`01`			`@0 DEU`
A68	`01`	`1`	`FRE`	`@1 Divertissement traditionnel urbain en Bavière : Les Volkssänger à travers l'exemple de Bally Prell`
A69	`01`	`1`	`FRE`	`@1 Musique traditionnelle en Bavière : Identité régionale, histoire, et culture`
A99				`@0 42 notes`
C01	`01`		`ENG`	@0 The A. outlines the development of Munich Volkssänger from the middle of the 19th century to the late 1970s, portraying in the second section a particular artist of the post-war period. Volkssänger as entertainers in Munich experienced their heyday from approximately 1880 to the 1920s. This form of entertainment was not unsimilar to varieté (variety shows) but was strongly marked by regional characteristics; thematically, it took its topics from everyday life. One program typically included couplet songs, ensemble numbers, humoristic solo performances, one-act sketches and parodies. After the First World War, the mass media of movies, radio and later television changed the habits of audience reception, leading to the decline or else transformation of these forms of entertainment. Bally Prell (1922-1982), who had a beautiful tenor voice, was sensationally successful in 1953 as the "Beauty Queen of Schneizlreuth". Until her death, she was mainly identified with this song and this role and she was considered the inheritor of the Munich Volkssänger tradition. Her repertoire consisted, however, also of opera and operetta music, chansons and lieder. To the present no monographic work on this singer has appeared; the biographical sketch laid out by the A. is based upon interviews with her colleagues, friends, relatives and other witnesses of the time.
C02	`01`	`N`		`@0 52992 @1 VII`
C02	`02`	`N`		`@0 529`
C03	`01`	`N`	`FRE`	`@0 Europe occidentale @2 NG @5 01`
C03	`01`	`N`	`ENG`	`@0 Western Europe @2 NG @5 01`
C03	`02`	`N`	`FRE`	`@0 Allemagne @2 NG @5 02`
C03	`02`	`N`	`ENG`	`@0 Germany @2 NG @5 02`
C03	`03`	`N`	`FRE`	`@0 Bavière @2 NG @5 03`
C03	`03`	`N`	`ENG`	`@0 Bavaria @2 NG @5 03`
C03	`04`	`S`	`FRE`	`@0 Munich @5 04`
C03	`04`	`S`	`ENG`	`@0 Munich @5 04`
C03	`05`	`N`	`FRE`	`@0 Chanson populaire @5 05`
C03	`05`	`N`	`ENG`	`@0 Popular song @5 05`
C03	`06`	`N`	`FRE`	`@0 Milieu urbain @5 06`
C03	`06`	`N`	`ENG`	`@0 Urban environment @5 06`
C03	`07`	`N`	`FRE`	`@0 Spectacle @5 07`
C03	`07`	`N`	`ENG`	`@0 Show @5 07`
C03	`08`	`N`	`FRE`	`@0 Répertoire @5 08`
C03	`08`	`N`	`ENG`	`@0 Repertory @5 08`
C03	`09`	`N`	`FRE`	`@0 Vie quotidienne @5 09`
C03	`09`	`N`	`ENG`	`@0 Everyday life @5 09`
C03	`10`	`N`	`FRE`	`@0 Genre musical @5 10`
C03	`10`	`N`	`ENG`	`@0 Musical style @5 10`
C03	`11`	`N`	`FRE`	`@0 Communication de masse @5 11`
C03	`11`	`N`	`ENG`	`@0 Mass media @5 11`
C03	`12`	`N`	`FRE`	`@0 Changement culturel @5 12`
C03	`12`	`N`	`ENG`	`@0 Cultural change @5 12`
C03	`13`	`N`	`FRE`	`@0 Artiste @5 13`
C03	`13`	`N`	`ENG`	`@0 Artist @5 13`
C03	`14`	`N`	`FRE`	`@0 Femme @5 14`
C03	`14`	`N`	`ENG`	`@0 Woman @5 14`
C03	`15`	`N`	`FRE`	`@0 Chanteur @5 15`
C03	`15`	`N`	`ENG`	`@0 Singer @5 15`
C03	`16`	`N`	`FRE`	`@0 Biographie @5 16`
C03	`16`	`N`	`ENG`	`@0 Biography @5 16`
C03	`17`	`N`	`FRE`	`@0 Prell (B.) @2 NF @4 INC @5 31`
C03	`18`	`N`	`FRE`	`@0 Divertissement @2 NI @4 CD @5 96`
C03	`18`	`N`	`ENG`	`@0 Entertainment @2 NI @4 CD @5 96`
N21				`@1 150`

Links toward previous steps (curation, corpus...)

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Links to Exploration step

Francis:529-00-11488

Curation

No country items

H. Frey

<affiliation><wicri:noCountry>no AF</wicri:noCountry>
</affiliation>

L. Fujie

<affiliation><wicri:noCountry>no AF</wicri:noCountry>
</affiliation>

Le document en format XML

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<author><name sortKey="Fujie, L" sort="Fujie, L" uniqKey="Fujie L" first="L." last="Fujie">L. Fujie</name>
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<affiliation><wicri:noCountry>no AF</wicri:noCountry>
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<author><name sortKey="Fujie, L" sort="Fujie, L" uniqKey="Fujie L" first="L." last="Fujie">L. Fujie</name>
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<front><div type="abstract" xml:lang="en">The A. outlines the development of Munich Volkssänger from the middle of the 19th century to the late 1970s, portraying in the second section a particular artist of the post-war period. Volkssänger as entertainers in Munich experienced their heyday from approximately 1880 to the 1920s. This form of entertainment was not unsimilar to varieté (variety shows) but was strongly marked by regional characteristics; thematically, it took its topics from everyday life. One program typically included couplet songs, ensemble numbers, humoristic solo performances, one-act sketches and parodies. After the First World War, the mass media of movies, radio and later television changed the habits of audience reception, leading to the decline or else transformation of these forms of entertainment. Bally Prell (1922-1982), who had a beautiful tenor voice, was sensationally successful in 1953 as the "Beauty Queen of Schneizlreuth". Until her death, she was mainly identified with this song and this role and she was considered the inheritor of the Munich Volkssänger tradition. Her repertoire consisted, however, also of opera and operetta music, chansons and lieder. To the present no monographic work on this singer has appeared; the biographical sketch laid out by the A. is based upon interviews with her colleagues, friends, relatives and other witnesses of the time.</div>
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<fC01 i1="01" l="ENG"><s0>The A. outlines the development of Munich Volkssänger from the middle of the 19th century to the late 1970s, portraying in the second section a particular artist of the post-war period. Volkssänger as entertainers in Munich experienced their heyday from approximately 1880 to the 1920s. This form of entertainment was not unsimilar to varieté (variety shows) but was strongly marked by regional characteristics; thematically, it took its topics from everyday life. One program typically included couplet songs, ensemble numbers, humoristic solo performances, one-act sketches and parodies. After the First World War, the mass media of movies, radio and later television changed the habits of audience reception, leading to the decline or else transformation of these forms of entertainment. Bally Prell (1922-1982), who had a beautiful tenor voice, was sensationally successful in 1953 as the "Beauty Queen of Schneizlreuth". Until her death, she was mainly identified with this song and this role and she was considered the inheritor of the Munich Volkssänger tradition. Her repertoire consisted, however, also of opera and operetta music, chansons and lieder. To the present no monographic work on this singer has appeared; the biographical sketch laid out by the A. is based upon interviews with her colleagues, friends, relatives and other witnesses of the time.</s0>
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Traditional urban entertainment in Bavaria : The Volkssänger as exemplified by Bally Prell

Traditional urban entertainment in Bavaria : The Volkssänger as exemplified by Bally Prell

Source :

Descripteurs français

English descriptors

Abstract

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Pour manipuler ce document sous Unix (Dilib)

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