Old page wikitext, before the edit (old_wikitext) | '{{other uses|Lament (disambiguation)|Lamentation (disambiguation)}}
[[File:Treny normal.jpg|thumb|right|[[Jan Kochanowski]] with dead daughter in painting inspired by the poet's ''[[Laments (Treny)|Laments]]'']]
A '''lament''' or '''lamentation''' is a passionate expression of [[grief]], often in [[music]], [[poetry]], or [[song]] form. The grief is most often born of [[Regret (emotion)|regret]], or [[mourning]]. Laments can also be expressed in a verbal manner, where the participant would lament about something they regret or someone they've lost, usually accompanied by wailing, [[Complaint|moaning]] and/or [[crying]].<ref>Piotr Michalowski, trans., Lamentation over the Destruction of Sumer and Ur (Winona Lake, Ind.: Eisenbrauns, 1989), 39–62; cited in Nancy Lee, Lyrics of Lament: From Tragedy to Transformation (Minneapolis: Augsburg Fortress, 2009)</ref> Laments constitute some of the oldest forms of writing and examples are present across human cultures.
==History==
[[File:Egyptian mourners001.jpg|thumb|150px|Egyptian women weeping and lamenting.]]
Many of the oldest and most lasting poems in human [[history]] have been laments.<ref>Linda M. Austin, "The Lament and the Rhetoric of the Sublime" ''Nineteenth-Century Literature'' '''53'''.3 (December 1998:279-306) traces the literary rhetoric evoking a voice crying.</ref> The [[Lament for Sumer and Ur]] dates back at least 4000 years to ancient [[Sumer]], the world's first urban civilization. Laments are present in both the ''[[Iliad]]'' and the ''[[Odyssey]]'', and laments continued to be sung in [[elegiacs]] accompanied by the [[aulos]] in classical and [[Hellenistic]] Greece.<ref>Margaret Alexiou, ''Ritual Lament in Greek Tradition'' (Cambridge University Press) 1974</ref> Elements of laments appear in ''[[Beowulf]]'', in the [[Hindu]] [[Veda]]s, and in [[ancient Near Eastern]] religious texts. They are included in the Mesopotamian city laments such as the [[Lament for Ur]] and the [[Jew]]ish [[Tanakh]], (which would later become the [[Christian]] [[Old Testament]]).
In many oral traditions, both early and modern, the lament has been a genre usually performed by women:<ref>Alexiou 1974; Angela Bourke, "More in anger than in sorrow: Irish women's lament poetry", in Joan Newlon Radnor, ed., ''Feminist Messages: Coding in Women's Folk Culture'' (Urbana: Illinois University Press) 1993:160-82.</ref> Batya Weinbaum made a case for the spontaneous lament of women chanters in the creation of the oral tradition that resulted in the ''[[Iliad]]''<ref>Batya Weinbaum, "Lament Ritual Transformed into Literature: Positing Women's Prayer as Cornerstone in Western Classical Literature" ''The Journal of American Folklore'' '''114''' No. 451 (Winter 2001:20-39).</ref> The material of lament, the "sound of trauma" is as much an element in the [[Book of Job]] as in the genre of [[pastoral elegy]], such as [[Percy Bysshe Shelley|Shelley]]'s "Adonais" or [[Matthew Arnold]]'s "Thyrsis".<ref>Austin 1998:280f.</ref>
The [[Book of Lamentations]] or ''Lamentations of Jeremiah'' figures in the Old Testament. The ''[[Lamentation of Christ]]'' (under many closely variant terms) is a common subject from the [[Life of Christ in art|''Life of Christ'' in art]], showing his dead body being mourned after the [[Crucifixion of Jesus|Crucifixion]].
A Lament in The Book of Lamentations or in the [[Psalms]] (in the particular Lament/Complaint Psalms of the [[Tanakh]], may be looked at as "a cry of need in a context of crisis when Israel lacks the resources to fend for itself."<ref>Walter Brueggeman, ''An Unsettling God'', (Minneapolis: Fortress Press, 2009) 13</ref> Another way of looking at it is all the more basic: laments simply being "appeals for divine help in distress".<ref>Michael D. Coogan, ''A Brief Introduction to the Old Testament'', (Oxford: Oxford University Press, 2009) 370</ref> These laments, too, often have a set format: an address to God, description of the suffering/anguish which one seeks relief, a petition for help and deliverance, a curse towards one's enemies, an expression of the belief of ones innocence or a confession of the lack thereof, a vow corresponding to an expected divine response, and lastly, a song of thanksgiving.<ref>Michael Coogan, ''A Brief Introduction to the Old Testament'' (Oxford: Oxford University Press, 2009) 370</ref> Examples of a general format of this, both in the individual and communal laments, can be seen in Psalm 3 and Psalm 44 respectively.<ref>Michael Coogan, ''A Brief Introduction to the Old Testament,'' (Oxford: Oxford University Press, 2009) 370</ref>
The ''[[Lament of Edward II]]'', if it is actually written by [[Edward II of England]], is the sole surviving composition of his.
A heroine's lament is a conventional fixture of [[Baroque opera|baroque]] [[opera seria]], accompanied usually by strings alone, in [[descending tetrachord]]s.<ref>Ellen Rosand, 2007. ''Opera in Seventeenth-Century Venice'' (University of California Press), "The lament aria: variations on a theme" pp 377ff.</ref> Because of their plangent cantabile melodic lines, evocatively free, non-[[strophic]] construction and [[Tempo#Basic tempo markings|adagio]] pace, operatic laments have remained vividly memorable soprano or mezzo-soprano [[aria]]s even when separated from the emotional pathos of their operatic contexts. An early example is Ariadne's "Lasciatemi morire", which is the only survivor of [[Claudio Monteverdi]]'s lost ''Arianna''. [[Francesco Cavalli]]'s operas extended the ''lamento'' formula, in numerous exemplars, of which Ciro's "Negatemi respiri" from ''Ciro'' is notable.<ref>"Negatemi respiri" and several others are noted by Rosand 2007:377f.</ref>
Other examples include [[Dido's Lament|Dido's lament, "When I am laid"]] ([[Henry Purcell]], ''[[Dido and Aeneas]]''), "[[Lascia ch'io pianga]]" ([[Georg Friedrich Handel]], ''[[Rinaldo (opera)|Rinaldo]]''), "Caro mio ben" (Tomasso or [[Giuseppe Giordani]]). The lament continued to represent a musico-dramatic high point. In the context of [[opera buffa]], the Countess's lament, "Dove sono" comes as a surprise to the audience of [[Wolfgang Amadeus Mozart]]'s ''[[Marriage of Figaro]]'', and in [[Gioachino Rossini]]'s ''[[Barber of Seville]]'', Rosina's plaintive words at her apparent abandonment are followed, not by the expected lament aria, but by a vivid orchestral interlude of storm music. The heroine's lament remained a fixture in romantic opera, and the Marschallin's monologue in Act I of ''[[Der Rosenkavalier]]'' can be understood as a penetrating psychological lament.<ref>Called "the Marschallin's Act I lament", in Jeremy Eichler, "Lushly Lamenting the Wages of Time and a Lost Golden Age" opera review in ''The New York Times'' March 15, 2005.</ref>
==Scottish laments==
The purely instrumental lament is a common form in [[pìobaireachd]] music for the [[Great Highland Bagpipe|Scottish bagpipes]]. "MacCrimmon's Lament" dates to the Jacobite uprising of 1745. The tune is held to have been written by Donald Ban MacCrimmon, piper to the MacLeods of Dunvegan, who supported the Hanoverians. It is said that Donald Ban, who was killed at Moy in 1746, had an intimation that he would not return.{{clarify|date=April 2017}}<ref>[http://www.educationscotland.gov.uk/scotlandssongs/secondary/genericcontent_tcm4572872.asp "MacCrimmon's Lament", Foghlam Alba] {{webarchive|url=https://web.archive.org/web/20131006063418/http://www.educationscotland.gov.uk/scotlandssongs/secondary/genericcontent_tcm4572872.asp |date=2013-10-06 }}</ref>
A well-known Gaelic lullaby is "Griogal Cridhe" ("Beloved Gregor"). It was composed in 1570 after the execution of Gregor MacGregor by the Campbells. The grief-stricken widow, Marion Campbell, describes what happened as she sings to her child.<ref>[http://www.educationscotland.gov.uk/scotlandssongs/about/songs/lullabiesdandlings/index.asp "Lullabies and Dandlings", Foghlam Alba] {{webarchive|url=https://web.archive.org/web/20131004070706/http://www.educationscotland.gov.uk/scotlandssongs/about/songs/lullabiesdandlings/index.asp |date=2013-10-04 }}</ref>
"Cumhadh na Cloinne" (Lament for the Children) was composed by Padruig Mór MacCrimmon in the early 1650s. It is generally held to be based on the loss of seven of MacCrimmon's eight sons to an unknown illness, possibly brought to Skye by a trading vessel. Author Bridget MacKenzie, in ''Piping Traditions of Argyll'', suggests that it refers to the slaughter of the MacLeod's fighting Cromwell's forces at the Battle of Worcester. It may have been inspired by both.<ref>[http://www.educationscotland.gov.uk/scotlandssongs/about/songs/pibroch/index.asp "Pibroch songs and canntaireachd", Education Scotland] {{webarchive|url=https://web.archive.org/web/20131004070629/http://www.educationscotland.gov.uk/scotlandssongs/about/songs/pibroch/index.asp |date=2013-10-04 }}</ref>
Other Scottish laments include "Lowlands Away"{{fact|date=April 2017}}, "MacPherson's Rant", and "Hector the Hero".
==Musical form==
There is a short, free musical form appearing in the Baroque and then again in the Romantic periods, called a [[Lament bass|lament]]. It is typically a set of harmonic [[Variation (music)|variations]] in [[Homophony|homophonic]] texture, wherein the bass descends through a tetrachord, usually one suggesting a [[Minor scale|minor mode]].
==See also==
* [[Ballad]]
* [[Dirge]]
* [[Doina]]
* [[Elegy]]
* [[endecha]] Galician lament, subgenre of the planto.
* [[Keening]]
* [[Kommos (theatre)|Kommós]]
* [[Lament bass]]
* [[Threnody]]
* [[King Crimson]] track "Prince Rupert's Lament" on 1970 album ''[[Lizard (album)|Lizard]]'', an instrumental lament played with electric guitar as lead instrument, and the song "Lament" on 1974 album ''[[Starless and Bible Black]]''
* [[Frederik Magle]] track ''Lament'' on the 2010 album ''[[Like a Flame]]''
==Notes==
{{reflist|2}}
==Sources==
*Richard Church, ''The Lamendation of Military Campaigns''. PDQ: Steve Ruling, 2000.
*Margaret Alexiou, ''The ritual lament in Greek tradition''. Cambridge: Cambridge University Press, 1974.
*Walter Brueggeman, ''An Unsettling God''. Minneapolis: Fortress Press, 2009
*Michael Coogan, ''A Brief Introduction to the Old Testament''. Oxford: Oxford University Press, 2009
*[[H. Munro Chadwick]], [[Nora Kershaw Chadwick]], ''The growth of literature'' (Cambridge: Cambridge University Press, 1932–40), e.g. vol. 2 p. 229.
*[[Andrew Dalby]], ''Rediscovering Homer'' (New York: Norton, 2006. {{ISBN|0-393-05788-7}}) pp. 141–143.
*Gail Holst-Warhaft, ''Dangerous voices: women's laments and Greek literature''. London: Routledge, 1992. {{ISBN|0-415-12165-5}}.
*Nancy C. Lee, ''Lyrics of Lament: From Tragedy to Transformation.'' Minneapolis: Fortress, 2010.
*Claus Westermann, ''Praise and Lament in the Psalms''. Westminster: John Knox Press, 1981. {{ISBN|0-8042-1792-0}}.
* [[Marcello Sorce Keller]], “Expressing, Communicating, Sharing and Representing Grief and Sorrow with Organised Sound (Musings in Eight Short Segments)”, in Stephen Wild, Di Roy, Aaron Corn and Ruth Lee Martin (eds), ''One Common Thread – The Musical World of Lament'' – Thematic Issue of Humanities Research. Canberra, ANU University Press, Vol. XIX, No. 3. 2013, 3-14
==External links==
===Greek laments (''Thrênoi, Moirológia'')===
*[https://books.google.gr/books?id=Exo9AAAAIAAJ&pg=PA184&lpg=PA184&dq=greek+folk+laments&source=bl&ots=vaIHeUyq4V&sig=GG43e7XXKp_bp0brEIWz9sgF9qY&hl=en&sa=X&ved=0ahUKEwjO54mO6obXAhWIuhoKHXSUAawQ6AEIRDAF#v=onepage&q=greek%20folk%20laments&f=false Alexiou Margaret, The ritual lament in greek tradition, CUP, 1974]
*[http://journal.oraltradition.org/files/articles/23ii/07_23.2.pdf Andrea Fishman, "Thrênoi to Moirológia: Female Voices of Solitude, Resistance, and Solidarity" ''Oral Tradition'', 23/2 (2008): 267-295]
*[https://books.google.gr/books?id=uuoM2D_UxpAC&pg=PA58&lpg=PA58&dq=greek+folk+laments&source=bl&ots=iWiycdlrRt&sig=ZiHTfgGeBrKcBsHDfttUUHdXBbQ&hl=en&sa=X&ved=0ahUKEwitwq_Z5obXAhXGnRoKHbtTDqg4ChDoAQg2MAM#v=onepage&q=greek%20folk%20laments&f=false Roderick Beaton, Folk Poetry of Modern Greece, Cambridge University Press, 2004]
*[https://www.youtube.com/watch?v=TJxqC4fiqcM Greek lament song (Mοιρολόϊ - ''Moiroloi'')] from [[Mani Peninsula|Mani]], performed in a funeral
*[https://www.youtube.com/watch?v=SWI1-KKgGz0 Greek lament song (Mοιρολόϊ - ''Moiroloi'')] from [[Epirus]], instrumental]
[[Category:Social philosophy]]
[[Category:Traditions]]
[[Category:Genres of poetry]]
[[Category:Death customs]]
[[Category:Melancholia]]
[[Category:Oral communication]]
[[Category:Behavior]]
[[Category:Grief]]
[[Category:Funeral orations]]' |
New page wikitext, after the edit (new_wikitext) | 'penis
==History==
[[File:Egyptian mourners001.jpg|thumb|150px|Egyptian women weeping and lamenting.]]
Many of the oldest and most lasting poems in human [[history]] have been laments.<ref>Linda M. Austin, "The Lament and the Rhetoric of the Sublime" ''Nineteenth-Century Literature'' '''53'''.3 (December 1998:279-306) traces the literary rhetoric evoking a voice crying.</ref> The [[Lament for Sumer and Ur]] dates back at least 4000 years to ancient [[Sumer]], the world's first urban civilization. Laments are present in both the ''[[Iliad]]'' and the ''[[Odyssey]]'', and laments continued to be sung in [[elegiacs]] accompanied by the [[aulos]] in classical and [[Hellenistic]] Greece.<ref>Margaret Alexiou, ''Ritual Lament in Greek Tradition'' (Cambridge University Press) 1974</ref> Elements of laments appear in ''[[Beowulf]]'', in the [[Hindu]] [[Veda]]s, and in [[ancient Near Eastern]] religious texts. They are included in the Mesopotamian city laments such as the [[Lament for Ur]] and the [[Jew]]ish [[Tanakh]], (which would later become the [[Christian]] [[Old Testament]]).
In many oral traditions, both early and modern, the lament has been a genre usually performed by women:<ref>Alexiou 1974; Angela Bourke, "More in anger than in sorrow: Irish women's lament poetry", in Joan Newlon Radnor, ed., ''Feminist Messages: Coding in Women's Folk Culture'' (Urbana: Illinois University Press) 1993:160-82.</ref> Batya Weinbaum made a case for the spontaneous lament of women chanters in the creation of the oral tradition that resulted in the ''[[Iliad]]''<ref>Batya Weinbaum, "Lament Ritual Transformed into Literature: Positing Women's Prayer as Cornerstone in Western Classical Literature" ''The Journal of American Folklore'' '''114''' No. 451 (Winter 2001:20-39).</ref> The material of lament, the "sound of trauma" is as much an element in the [[Book of Job]] as in the genre of [[pastoral elegy]], such as [[Percy Bysshe Shelley|Shelley]]'s "Adonais" or [[Matthew Arnold]]'s "Thyrsis".<ref>Austin 1998:280f.</ref>
The [[Book of Lamentations]] or ''Lamentations of Jeremiah'' figures in the Old Testament. The ''[[Lamentation of Christ]]'' (under many closely variant terms) is a common subject from the [[Life of Christ in art|''Life of Christ'' in art]], showing his dead body being mourned after the [[Crucifixion of Jesus|Crucifixion]].
A Lament in The Book of Lamentations or in the [[Psalms]] (in the particular Lament/Complaint Psalms of the [[Tanakh]], may be looked at as "a cry of need in a context of crisis when Israel lacks the resources to fend for itself."<ref>Walter Brueggeman, ''An Unsettling God'', (Minneapolis: Fortress Press, 2009) 13</ref> Another way of looking at it is all the more basic: laments simply being "appeals for divine help in distress".<ref>Michael D. Coogan, ''A Brief Introduction to the Old Testament'', (Oxford: Oxford University Press, 2009) 370</ref> These laments, too, often have a set format: an address to God, description of the suffering/anguish which one seeks relief, a petition for help and deliverance, a curse towards one's enemies, an expression of the belief of ones innocence or a confession of the lack thereof, a vow corresponding to an expected divine response, and lastly, a song of thanksgiving.<ref>Michael Coogan, ''A Brief Introduction to the Old Testament'' (Oxford: Oxford University Press, 2009) 370</ref> Examples of a general format of this, both in the individual and communal laments, can be seen in Psalm 3 and Psalm 44 respectively.<ref>Michael Coogan, ''A Brief Introduction to the Old Testament,'' (Oxford: Oxford University Press, 2009) 370</ref>
The ''[[Lament of Edward II]]'', if it is actually written by [[Edward II of England]], is the sole surviving composition of his.
A heroine's lament is a conventional fixture of [[Baroque opera|baroque]] [[opera seria]], accompanied usually by strings alone, in [[descending tetrachord]]s.<ref>Ellen Rosand, 2007. ''Opera in Seventeenth-Century Venice'' (University of California Press), "The lament aria: variations on a theme" pp 377ff.</ref> Because of their plangent cantabile melodic lines, evocatively free, non-[[strophic]] construction and [[Tempo#Basic tempo markings|adagio]] pace, operatic laments have remained vividly memorable soprano or mezzo-soprano [[aria]]s even when separated from the emotional pathos of their operatic contexts. An early example is Ariadne's "Lasciatemi morire", which is the only survivor of [[Claudio Monteverdi]]'s lost ''Arianna''. [[Francesco Cavalli]]'s operas extended the ''lamento'' formula, in numerous exemplars, of which Ciro's "Negatemi respiri" from ''Ciro'' is notable.<ref>"Negatemi respiri" and several others are noted by Rosand 2007:377f.</ref>
Other examples include [[Dido's Lament|Dido's lament, "When I am laid"]] ([[Henry Purcell]], ''[[Dido and Aeneas]]''), "[[Lascia ch'io pianga]]" ([[Georg Friedrich Handel]], ''[[Rinaldo (opera)|Rinaldo]]''), "Caro mio ben" (Tomasso or [[Giuseppe Giordani]]). The lament continued to represent a musico-dramatic high point. In the context of [[opera buffa]], the Countess's lament, "Dove sono" comes as a surprise to the audience of [[Wolfgang Amadeus Mozart]]'s ''[[Marriage of Figaro]]'', and in [[Gioachino Rossini]]'s ''[[Barber of Seville]]'', Rosina's plaintive words at her apparent abandonment are followed, not by the expected lament aria, but by a vivid orchestral interlude of storm music. The heroine's lament remained a fixture in romantic opera, and the Marschallin's monologue in Act I of ''[[Der Rosenkavalier]]'' can be understood as a penetrating psychological lament.<ref>Called "the Marschallin's Act I lament", in Jeremy Eichler, "Lushly Lamenting the Wages of Time and a Lost Golden Age" opera review in ''The New York Times'' March 15, 2005.</ref>
==Scottish laments==
The purely instrumental lament is a common form in [[pìobaireachd]] music for the [[Great Highland Bagpipe|Scottish bagpipes]]. "MacCrimmon's Lament" dates to the Jacobite uprising of 1745. The tune is held to have been written by Donald Ban MacCrimmon, piper to the MacLeods of Dunvegan, who supported the Hanoverians. It is said that Donald Ban, who was killed at Moy in 1746, had an intimation that he would not return.{{clarify|date=April 2017}}<ref>[http://www.educationscotland.gov.uk/scotlandssongs/secondary/genericcontent_tcm4572872.asp "MacCrimmon's Lament", Foghlam Alba] {{webarchive|url=https://web.archive.org/web/20131006063418/http://www.educationscotland.gov.uk/scotlandssongs/secondary/genericcontent_tcm4572872.asp |date=2013-10-06 }}</ref>
A well-known Gaelic lullaby is "Griogal Cridhe" ("Beloved Gregor"). It was composed in 1570 after the execution of Gregor MacGregor by the Campbells. The grief-stricken widow, Marion Campbell, describes what happened as she sings to her child.<ref>[http://www.educationscotland.gov.uk/scotlandssongs/about/songs/lullabiesdandlings/index.asp "Lullabies and Dandlings", Foghlam Alba] {{webarchive|url=https://web.archive.org/web/20131004070706/http://www.educationscotland.gov.uk/scotlandssongs/about/songs/lullabiesdandlings/index.asp |date=2013-10-04 }}</ref>
"Cumhadh na Cloinne" (Lament for the Children) was composed by Padruig Mór MacCrimmon in the early 1650s. It is generally held to be based on the loss of seven of MacCrimmon's eight sons to an unknown illness, possibly brought to Skye by a trading vessel. Author Bridget MacKenzie, in ''Piping Traditions of Argyll'', suggests that it refers to the slaughter of the MacLeod's fighting Cromwell's forces at the Battle of Worcester. It may have been inspired by both.<ref>[http://www.educationscotland.gov.uk/scotlandssongs/about/songs/pibroch/index.asp "Pibroch songs and canntaireachd", Education Scotland] {{webarchive|url=https://web.archive.org/web/20131004070629/http://www.educationscotland.gov.uk/scotlandssongs/about/songs/pibroch/index.asp |date=2013-10-04 }}</ref>
Other Scottish laments include "Lowlands Away"{{fact|date=April 2017}}, "MacPherson's Rant", and "Hector the Hero".
==Musical form==
There is a short, free musical form appearing in the Baroque and then again in the Romantic periods, called a [[Lament bass|lament]]. It is typically a set of harmonic [[Variation (music)|variations]] in [[Homophony|homophonic]] texture, wherein the bass descends through a tetrachord, usually one suggesting a [[Minor scale|minor mode]].
==See also==
* [[Ballad]]
* [[Dirge]]
* [[Doina]]
* [[Elegy]]
* [[endecha]] Galician lament, subgenre of the planto.
* [[Keening]]
* [[Kommos (theatre)|Kommós]]
* [[Lament bass]]
* [[Threnody]]
* [[King Crimson]] track "Prince Rupert's Lament" on 1970 album ''[[Lizard (album)|Lizard]]'', an instrumental lament played with electric guitar as lead instrument, and the song "Lament" on 1974 album ''[[Starless and Bible Black]]''
* [[Frederik Magle]] track ''Lament'' on the 2010 album ''[[Like a Flame]]''
==Notes==
{{reflist|2}}
==Sources==
*Richard Church, ''The Lamendation of Military Campaigns''. PDQ: Steve Ruling, 2000.
*Margaret Alexiou, ''The ritual lament in Greek tradition''. Cambridge: Cambridge University Press, 1974.
*Walter Brueggeman, ''An Unsettling God''. Minneapolis: Fortress Press, 2009
*Michael Coogan, ''A Brief Introduction to the Old Testament''. Oxford: Oxford University Press, 2009
*[[H. Munro Chadwick]], [[Nora Kershaw Chadwick]], ''The growth of literature'' (Cambridge: Cambridge University Press, 1932–40), e.g. vol. 2 p. 229.
*[[Andrew Dalby]], ''Rediscovering Homer'' (New York: Norton, 2006. {{ISBN|0-393-05788-7}}) pp. 141–143.
*Gail Holst-Warhaft, ''Dangerous voices: women's laments and Greek literature''. London: Routledge, 1992. {{ISBN|0-415-12165-5}}.
*Nancy C. Lee, ''Lyrics of Lament: From Tragedy to Transformation.'' Minneapolis: Fortress, 2010.
*Claus Westermann, ''Praise and Lament in the Psalms''. Westminster: John Knox Press, 1981. {{ISBN|0-8042-1792-0}}.
* [[Marcello Sorce Keller]], “Expressing, Communicating, Sharing and Representing Grief and Sorrow with Organised Sound (Musings in Eight Short Segments)”, in Stephen Wild, Di Roy, Aaron Corn and Ruth Lee Martin (eds), ''One Common Thread – The Musical World of Lament'' – Thematic Issue of Humanities Research. Canberra, ANU University Press, Vol. XIX, No. 3. 2013, 3-14
==External links==
===Greek laments (''Thrênoi, Moirológia'')===
*[https://books.google.gr/books?id=Exo9AAAAIAAJ&pg=PA184&lpg=PA184&dq=greek+folk+laments&source=bl&ots=vaIHeUyq4V&sig=GG43e7XXKp_bp0brEIWz9sgF9qY&hl=en&sa=X&ved=0ahUKEwjO54mO6obXAhWIuhoKHXSUAawQ6AEIRDAF#v=onepage&q=greek%20folk%20laments&f=false Alexiou Margaret, The ritual lament in greek tradition, CUP, 1974]
*[http://journal.oraltradition.org/files/articles/23ii/07_23.2.pdf Andrea Fishman, "Thrênoi to Moirológia: Female Voices of Solitude, Resistance, and Solidarity" ''Oral Tradition'', 23/2 (2008): 267-295]
*[https://books.google.gr/books?id=uuoM2D_UxpAC&pg=PA58&lpg=PA58&dq=greek+folk+laments&source=bl&ots=iWiycdlrRt&sig=ZiHTfgGeBrKcBsHDfttUUHdXBbQ&hl=en&sa=X&ved=0ahUKEwitwq_Z5obXAhXGnRoKHbtTDqg4ChDoAQg2MAM#v=onepage&q=greek%20folk%20laments&f=false Roderick Beaton, Folk Poetry of Modern Greece, Cambridge University Press, 2004]
*[https://www.youtube.com/watch?v=TJxqC4fiqcM Greek lament song (Mοιρολόϊ - ''Moiroloi'')] from [[Mani Peninsula|Mani]], performed in a funeral
*[https://www.youtube.com/watch?v=SWI1-KKgGz0 Greek lament song (Mοιρολόϊ - ''Moiroloi'')] from [[Epirus]], instrumental]
[[Category:Social philosophy]]
[[Category:Traditions]]
[[Category:Genres of poetry]]
[[Category:Death customs]]
[[Category:Melancholia]]
[[Category:Oral communication]]
[[Category:Behavior]]
[[Category:Grief]]
[[Category:Funeral orations]]' |
