balladic


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bal·lad

 (băl′əd)
n.
1.
a. A narrative poem, often of folk origin and intended to be sung, consisting of simple stanzas and usually having a refrain.
b. The music for such a poem.
2. A popular song especially of a romantic or sentimental nature.

[Middle English balade, poem or song in stanza form, from Old French ballade, from Old Provençal balada, song sung while dancing, from balar, to dance, from Late Latin ballāre, to dance; see ball2.]

bal·lad′ic (bə-lăd′ĭk, bă-) adj.
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

balladic

(bəˈlædɪk)
adj
(Music, other) relating to ballads
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014
References in periodicals archive ?
HONNE's magic lies in their ability to turn their balladic hits into pop-rock anthems when they hit the stage.
It is worth noting that Zhukovsky also uses a six-line strophic structure with alternating line lengths, although the balladic rhythm is manifestly different from Chenier's ode (as from Lermontov's "Neighbor"), with two alternating iambic te trameter and monometer lines followed by a tetrameter couplet.
105-35 ("breakdown" of epic into balladic and other forms; the routines of a sahra session; master singer in performance).
Written in response to Francis William Newman's 1856 balladic translation of the Iliad, Arnold's three-part essay-delivered as a lecture series at Oxford in 1860, but not published until 1861-condemns Newman for failing to render Homer's nobility.
The poem "The Prophet Elijah" is the acme of his folk and balladic Elijah series because it is a sonnet.
The term romans (plural, romansy) has been used in Russia for over 200 years to describe both vocal music and a balladic type of poetry; this is because in the Middle Ages of Western Europe, the poet and the composer (i.e., troubadours) were the same person.
The balladic mode of the one work might indicate a subsidence into a pre-individualistic form of culture dramatized through doubling in the case of the other one (with Bergman's own earlier interest in the balladic, in The Virgin Spring [1960], possibly relevant).
There was also Whitney Houston's Saving All My Love for You and a balladic version of Katy Perry's The One That Got Away.