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A godly song, entituled, A farewell to the vvorld, made by a godly Christian, named Thomas Byll, being the parish clerke of West-Felton, as he lay vpon his death-bed shewing the vanitie of the world, and his desire to be dissolued. To the tune of, Fortune my foe
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Year: 1630 Publisher: London : printed [by A. Mathewes] for Henry Gossen,

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A godly song, entituled, A farewell to the vvorld, made by a godly Christian, named Thomas Byll, being the parish clerke of West-Felton, as he lay vpon his death-bed shewing the vanitie of the world, and his desire to be dissolued. To the tune of, Fortune my foe
Author:
Year: 1630 Publisher: London : printed [by A. Mathewes] for Henry Gossen,

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A godly song, entituled, A farewell to the vvorld,
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Year: 1630 Publisher: London : Printed for Henry Gossen.,

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The vvest-country damosels complaint: or, The faithful lovers last farewel. : Being the relation of a young maid who pined her self to death, for the love of a young-man, who after he had notice of it, dyed likewise for grief. Careless young-men, by this a warning take, how you kind virgins (when they love) forsake; least the same fate o're-take you, and you dye for breach of vows, and infidelity. Be kind, but swear not more then what you mean, least comick jests become a trajeck scean. To the tune of, Johnny Armstrong.
Year: 1680 Publisher: [London] : Printed for P. Brooksby, at the Golden-Ball, in Westsmith-field, neer the Hospital-gate.,

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Het moordlied in de Zuidelijke Nederlanden tot de XIXe eeuw
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Year: 1976 Publisher: Brussel, [Bonekruidlaan 30] : Aurelia Books,

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Het moordlied in de Zuidelijke Nederlanden (XXe eeuw)
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Year: 1977 Publisher: Brussel : Aurelia Books,

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No one cries for the dead : Tamil dirges, rowdy songs, and graveyard petitions
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ISBN: 1597347752 1282357964 9786612357961 0520938348 1417584955 9780520938342 9781597347754 9781417584956 0520243137 9780520243132 0520243145 9780520243149 9781282357969 6612357967 Year: 2005 Publisher: Berkeley : ©2005 University of California Press,

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At South Indian village funerals, women cry and lament, men drink and laugh, and untouchables sing and joke to the beat of their drums. No One Cries for the Dead offers an original interpretation of these behaviors, which seem almost unrelated to the dead and to the funeral event. Isabelle Clark-Decès demonstrates that rather than mourn the dead, these Tamil funeral songs first and foremost give meaning to the caste, gender, and personal experiences of the performers.

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