Thematische Bibliographien / Musico-literary

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile

Auswahl der wissenschaftlichen Literatur zum Thema „Musico-literary“

Autor: Grafiati
Veröffentlicht am 14. Dezember 2024

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Zeitschriftenartikel zum Thema "Musico-literary"

1

Smolskaitė, Giedrė. "Musicalization of Literature: Kostas Ostrauskas’s The Quartet." Semiotika 13 (December 20, 2017): 57–76. http://dx.doi.org/10.15388/semiotika.2017.16725.

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In works of literature, music can be found in the form of score fragments, notation symbols, song lyrics, musicological terminology, acoustic aspects of speech, musicians as characters, etc. Such manifestations connect two systems of signification and create an intermedial dialogue between music and literature, which requires a specific methodological approach. According to the intermediality theoretician Werner Wolf, “[t]he verbal text appears to be or become [...] similar to music, or to effects connected with certain compositions, and we get the impression of experiencing music ‘through’ the text”26. This paper discusses possible forms of a musico-literary relationship, the effects they produce, and examples of musicalization found in Kostas Ostrauskas’s play The Quartet (1969). In this play, the musico-literary dialogue is developed on different levels: structure and story, the twofold nature of the characters, intertextuality. Analysis of the play’s architextual relationship with the medium of music helps to identify the specific, musico-literary genre of this play. This unusual genre is defined not only by the content of The Quartet but also by its expression, i.e. graphic nuances, inserted imagery, etc. As shown by the analysis, the play could be understood as a metonymy of the history of both contemporary music and dramatic literature.
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Shapiro, Michael J. "Genres of Nationhood: The ''Musico-Literary'' Aesthetics of Attachment and Resistance." Strategies: Journal of Theory, Culture & Politics 13, no. 2 (2000): 141–61. http://dx.doi.org/10.1080/104021300750022571.

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3

Daverio, John. ": The Tuning of the Word: The Musico-Literary Poetics of the Symbolist Movement . David Michael Hertz." 19th-Century Music 13, no. 3 (1990): 257–61. http://dx.doi.org/10.1525/ncm.1990.13.3.02a00070.

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4

von Ammon, Frieder. "nr="68"Konkurrenten in musicis. : Thomas Mann, Arthur Schnitzler und Robert Musil im Wettstreit um die ,,heilige Kunst“." Zeitschrift für Germanistik 31, no. 2 (2021): 68–82. http://dx.doi.org/10.3726/92169_68.

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Abstract Der Beitrag geht der Frage nach, wie die Intensität der musikliterarischen Intermedialität in der deutschsprachigen Erzählliteratur der Moderne erklärt werden kann. Eine zentrale Rolle spielen dabei die Musikbezüge und insbesondere die Musikbeschreibungen in den Texten Thomas Manns, mit denen sich andere Autoren in der Folge auseinanderzusetzen hatten. Dabei ist eine produktive Konkurrenzsituation entstanden, die im Beitrag anhand von Texten Manns, Schnitzlers und Musils untersucht wird.The present contribution asks how the intensity of musico-literary intermediality in narrative texts of German modernism can be explained. Crucial are the references to and descriptions of music in the texts of Thomas Mann which other authors had to face. The result was a specific competitive situation with productive potential. It is examined on the basis of texts by Mann, Schnitzler, and Musil.
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Knox, Katelyn. "The 7th Lawrence R. Schehr Memorial Award Winning Essay." Contemporary French Civilization: Volume 46, Issue 1 46, no. 1 (2021): 1–25. http://dx.doi.org/10.3828/cfc.2021.1.

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Popular music abounds in Afropean literature, yet to date scholars have primarily read novels’ musical elements through author biography. In this article, I focus narrowly on the rich musical peritexts and musico-literary intermediality of two novels by Insa Sané: Du plomb dans le crâne (2008) and Daddy est mort…: Retour à Sarcelles (2010). In addition to the abundant diegetic musical references, both novels also feature two structural musical layers. I argue that these three musical elements constitute critical sites through which the novels’ narratives, which center around young, black, male protagonists who seek to escape vicious circles of violence through recognition, emerge. Ultimately, these novels’ musical elements situate the narratives’ discussions of black masculinity within much broader conversations transpiring between French and African American communities, thereby providing a much larger cultural genealogy to supplement the characters’ fraught literal ones.
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Udoh, Isaac E. "The ethos and pathos of traditional music: The Annang experience." Journal of the Association of Nigerian Musicologists 16, no. 1 (2022): 77–88. http://dx.doi.org/10.4314/janm.v16i1.6.

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The traditional music of the Annang of Nigeria is a product of the people’s cultural beliefs, codes, and mores. It represents a model of the philosophy of the Annang communities encapsulating their social and cultural inclinations. This musico-cultural ethos, when identified as pre-colonial (as it has always been), presupposes that cultural changes and modernity have impacted and disrupted these pristine or near-pristine ways of life. What then is left of traditional music? How do they survive amidst dominating genres of foreign descent? This paper examines how cultural changes have disadvantaged the traditional music of the Annang people. The study employs an analytical approach to textual music with other extant literary materials. The paper argues that traditional music will soon become extinct unless the interest in musical revival and sustainability engages identity conventions. It concludes that a conscious attempt at pathos (compassion and sympathy) should be made using modern modes of musical creativity, such as composition, songwriting and modern technology devices.
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Agbenyo, Samuel. "‘Empfindsamer Stil’ And Its Literary Connections: A Cue To Music Instruction." British Journal of Contemporary Education 1, no. 1 (2021): 109–19. http://dx.doi.org/10.52589/bjce-lnpbmki0.

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Empfindsamer Stil is a German expression whose meaning has historically been debated as either a “human emotional disposition” or “a musical style”. This descriptive bibliographic study seeks to investigate the historical development of Empfindsamer Stil, its application in musical contexts, as well as its nexus with literacy works, to inform music instruction. Given the COVID-19 pandemic research environment, most of the data were collected virtually and reported thematically. Findings indicate that Empfindsamer Stil is characterized by an emphasis on the expression of a variety of deeply felt emotions within a musical work, with Carl Philipp Emanuel Bach being the principal exponent. The study also reveals that historians of philosophy across time failed to agree on the meaning of the term Empfindsamer Stil. It was therefore concluded that language is dynamic and evolving. Music educators must ensure to explore the history-contextual significance of musical terminologies, especially those that may be alien within the specific musico-cultural milieu of the learner. Also, in teaching, applying, and assessing lessons involving terminologies, music teachers must take a cue from specific historical epochs and cultures to maximize relevance and fairness. Future studies in music history, in correlation with modern psychology and literary works, will therefore help clarify further whether the term Empfindsamer Stil is best explained as a phenomenon of human emotional disposition or a musical style. Also, more research will better explain the interdependent coexistence of music and various literary works.
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Niskanen, Lauri A., and Arianna Autieri. "The Geno-song and Pheno-song of the "Sirens": The Finnish, Swedish, and Italian (Re)Translations of the Musical Prose of "Sirens"." James Joyce Quarterly 61, no. 3-4 (2024): 277–98. http://dx.doi.org/10.1353/jjq.2024.a941498.

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ABSTRACT: The challenge in any translation, but especially in translations of Joyce and of Ulysses , is that a work of art is never one voice, one utterance, but is built upon an entire literary tradition in the postmodern intertextual process. In this essay, we focus on the case of "Sirens," an episode in which the undertone of the textual surface is not only literary tradition but, intermedially, the forms, signifiers, and experience of music. In the thinking of Roland Barthes, a musical text, or writing aloud, includes phenotext, the regular mode of communication, and genotext, which refers, without denotation, directly to the body. This, according to Barthes, causes friction, the grain of the voice. In this essay, we examine how (re)translations of "Sirens" into Swedish, Italian, and Finnish recreate this friction in their respective literary horizons, through their different linguistic possibilities. We find that, in their performances of the geno-song and pheno-song of the musico-literary intermediality of Joyce's "Sirens," the Swedish, Italian, and Finnish translators either stop to explicate the symbolic in the mode of pheno-song or convey the semiotic in the legato line of geno-song, but rarely are they able to include both and convey the grain of "Sirens." Our contention is that "Sirens" should not be reduced to symbolic denotation, but that the musical aspect of the episode should also not be emphasized in an overly analytic, formal way. Through examples of i) verbal music, ii) fragmented polyphony, and iii) microstructural analogies to music, we argue that the target-text reader should hear the grain of fictive language against the musical voice.
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Maurey, Yossi. "A COURTLY LOVER AND AN EARTHLY KNIGHT TURNED SOLDIERS OF CHRIST IN MACHAUT'S MOTET 5." Early Music History 24 (July 14, 2005): 169–211. http://dx.doi.org/10.1017/s0261127905000082.

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The tenor occupies a special role in vernacular motets of the thirteenth and fourteenth centuries: not only does it underpin the melodies of the upper voices contrapuntally, it also provides intellectual and interpretative undergirding for the texts of these pieces. The biblical or liturgical context of a tenor, drawing on well-understood exegetical and literary traditions, often facilitates an allegorical reading of the upper voices, and vice versa. Because of the foundational nature of the tenor within the Ars nova motet in particular, the identification of the exact musico-liturgical sources of this voice, where possible, is of special significance. While the origins of most of Machaut's twenty-one Latin tenors have been identified, the tenor of one work, Motet 5 (Aucune gent/Qui plus aimme/ T. Fiat voluntas tua, hereafter M5), is alleged to have a most unusual source. I offer new observations about the tenor of M5 that emphasise certain compositional procedures congruent with Machaut's practice in writing his motets and may tie together the various secular and sacred references in the piece.
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Cury, Maria Zilda Ferreira, and Guilherme Augusto Lopes de Souza. "Entre modulações musicais e literárias: O inverno e depois, de Luiz Antonio de Assis Brasil." Navegações 11, no. 1 (2018): 3. http://dx.doi.org/10.15448/1983-4276.2018.1.33012.

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O inverno e depois, romance de Luiz Antonio de Assis Brasil, exibe uma articulada reflexão acerca da música clássica e da vida de artista, assim como os desafios dos musicistas de traduzir, por meio de sua arte, os sentimentos que as palavras não expressam. À vista disso, pretende-se fazer uma leitura do romance a partir das teorias dos estudos músico-literários, evidenciando as influências do Concerto para violoncelo e orquestra, de Antonín Dvořák – peça chave do romance – na narrativa de Assis Brasil, tanto no plano estrutural, como no plano de seu conteúdo. *** Between literary and musical modulations: O inverno e depois, by Luiz Antonio de Assis Brasil ***O inverno e depois, a novel written by Luiz Antonio de Assis Brasil, exposes an articulated reflection on classical music and the artist’s life, as well as the challenges of the musicians to translate, through their art, the feelings that words do not express itself. In this way, we intend to make a reading of the novel from the theoretical aspects of word and music studies, revealing the influences of the Concerto for violoncello and Orchestra, by Antonín Dvořák – key factor for the novel –, in the Assis Brasil’s narrative, both in the structural plane and in the plane of its content.Keywords: Contemporary brazilian literature; Luiz Antonio de Assis Brasil; Literature and music; Intermidiality; Musico-literary studies.
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Dissertationen zum Thema "Musico-literary"

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Morrison, Simon A. "'Discotext' : musico-literary intermediality in dancefloor-driven literature." Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/20885/.

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This thesis uses the ‘rave’ subculture as a route into an analysis of literary representations of a music scene. Almost as soon as this sonic subculture took hold – during the Second Summer of Love in 1988 – and the socio-political impact of the nascent rave scene became clear, it quickly appeared on the radar of journalists, filmmakers and authors, all keen to use society’s cultural preoccupations as source material for their output. Firstly defining, and then expanding, on the neologism re/presentation, the thesis questions why such cultural artefacts appear – secondary representations that orbit the subculture itself – and what function they may serve. Further focussing on the medium of literature, the thesis then defines the genre of Dancefloor-Driven Literature – stories born of the dancefloor – using new primary input from three key case study authors to analyse three separate ways writers might draw on the pulse of electronic music in their fiction, interrogating that very particular intermedial intersection between the sonic and the linguistic. The thesis explores how such authors write about something so subterranean as the nightclub scene, considers how they write lucidly and fluidly about the rigid, metronomic beat of electronic music, and analyses what specifically literary techniques they deploy to accurately recount in fixed symbols the drifting, hallucinatory effects of a drug experience. The thesis describes two key functions such a literature might serve: firstly, in terms of its enculturative potential within the contemporary society into which it is published and then, almost 30 years since the Second Summer of Love, the importance this collection of texts might have, archivally. Finally, the thesis will propose a theory by which all sonic subcultures might be de decoded, not through the music, but through these secondary literary artefacts. It is there that stories of that subculture are locked, told to a silent beat.
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Ingebrigtsen, Marte. "Diktet som partitur : Musikkbegrepers relevans i analysen av moderne, postmetrisk lyrikk." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for språk og litteratur, 2014. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-26140.

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In this MA-thesis, I investigate the usage of musical terminology in the study of modern, post-metric poetry. I present the theoretical field «musico-literary studies», and point to some examples of inconsistent vocabulary in the critical debate on musicalized poetry. I also examine the effectiveness of the musical analogy in the analysis of poetic texts, and put this to the test in three textual analyses: «Some soldier wrote» by Ursula Andkjær Olsen, «Absentia animi» by Gunnar Ekelöf and Solaris korrigert by Øyvind Rimbereid. The thesis concludes that the musical analogy and the use of a musical vocabulary should be used with some care. Although it can often highlight interesting compositional and even thematic aspects of poetic texts, the analogy only becomes fully functional when the text is structured by the same principles as the musical form in question.
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Obieje, Oluchi Patricia. "Littérature et musique : esthétique et éthique du sujet "afro-descendant " dans quelques œuvres poétiques ou romanesques de Sterling Brown, Langston Hughes, Toni Morrison, Henri Lopes, Leonora Miano." Electronic Thesis or Diss., Strasbourg, 2024. http://www.theses.fr/2024STRAC014.

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Les rapports entre littérature et musique et l’entremêlement des genres artistiques renvoient à une notion de mélange artistique impliquant une modalité littéraire et culturelle. Le maintien de différents genres artistiques dans la littérature évoque la production d’une intermédialité. L’implication inter-médiale dans ce contexte génère une variété littéraire et une diversité culturelle indiquant l’esthétique de l’hétérogénéité, de la réitération et de la mélodie dans la littérature. L’unification de ces deux arts distincts - la littérature et la musique - est reconnu comme une construction « musico-littéraire ». Le concept de création « musico-littéraire » pose en effet la question de l’intermédialité en littérature, de sa construction, de sa quête et du déchiffrement de son usage symbolique. Cette étude vise donc à étudier l’esthétique des effets musicaux en littérature et les usages symboliques de valeurs culturelles et musicales d’origine afro-descendante dans quelques œuvres poétiques et romanesques de Sterling Brown, de Langston Hughes, de Toni Morrison, d’Henry Lopes et de Léonora Miano. L’analyse « musico-littéraire » de ces textes révèlent une esthétique littéraire et culturelle ; concernant le mélange d’héritage musical et culturel afro-descendant et d’empreinte culturelle occidentale. Nous menons une étude thématique et comparée des œuvres du corpus pour identifier le rôle esthétique et l’éthique du mélange des genres littéraires et musicaux pour interroger les enjeux de l’intermédialité en littérature<br>The relationship between literature and music and the intermingling of artistic genres refer to a notion of artistic mixture involving a literary and cultural modality. The maintenance of different artistic genres in literature evokes the production of intermediality. The intermedial involvement in this context generates a literary variety and a cultural diversity indicating the aesthetics of heterogeneity, reiteration and melody in literature. The unification of these two distinct arts - literature and music - is recognized as a “musico-literary” construction. The concept of “musico-literary” creation indeed poses the question of intermediality in literature: its construction, its quest and the deciphering of its symbolic use. This study therefore aims to study the aesthetics of musical effects in literature and the symbolic uses of cultural and musical values ​​of Afro-descendant origin in some poetic and novelistic works by Sterling Brown, Langston Hughes, Toni Morrison, Henry Lopes and Léonora Miano. The “musico-literary” analysis of these texts reveals a literary and cultural aesthetic concerning the mixture of Afro-descendant musical and cultural heritage and Western cultural imprint. We conduct a thematic and comparative study of the works in the corpus to identify the aesthetic role and ethics of the mixture of literary and musical genres to question the issues of intermediality in literature
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Bücher zum Thema "Musico-literary"

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Nathan, Isaac. Musico-literary traditions of the Beta Israel: A series of encounters. Centre of Ethiopian Studies, 2002.

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Ulrich, Weisstein, and Bernhart Walter, eds. Die Semantik der musiko-literarischen Gattungen: Methodik und Analyse : eine Festgabe für Ulrich Weisstein zum 65. Geburtstag = The semantics of the musico-literary genres : method and analysis : in honor of Ulrich Weisstein on his 65th birthday. G. Narr, 1994.

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Musico-literary traditions of the Beta Israel: A series of encounters. Centre of Ethiopian Studies, 2002.

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The tuning of the word: The musico-literary poetics of the symbolist movement. Southern Illinois University Press, 1987.

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Buchteile zum Thema "Musico-literary"

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Arseneau, Mary. "Musico-Literary Pre-Raphaelite Poetry." In Defining Pre-Raphaelite Poetics. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51338-2_6.

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Magome, Kiyoko. "Vladimir Nabokov’s Musico-Literary Microcosm: “Sounds,” “Music,” and Nabokov’s Quartet." In The Five Senses in Nabokov's Works. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-45406-7_18.

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Weisstein, Ulrich. "6. What is Romantic Opera? — Toward a Musico-Literary Definition." In Comparative History of Literatures in European Languages. John Benjamins Publishing Company, 1993. http://dx.doi.org/10.1075/chlel.ix.14wei.

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McGrath, John. "Musico-literary interaction in modern Ireland and the musical aesthetic of Samuel Beckett." In Samuel Beckett, Repetition and Modern Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315607566-4.

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Skorupa, Candace K. "Berlioz’s Programme and Proust’s Sonate: Parallel Quests to Bridge the Gaps in Musico-Literary Expression." In The Aesthetic Discourse of the Arts. Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-011-4263-2_15.

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"The Composer’s Musico-Literary Experience." In Musico-Poetics in Perspective. BRILL, 2000. http://dx.doi.org/10.1163/9789004489738_006.

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Daverio, John. "Formation of a Musico-Literary Sensibility." In Robert Schumann. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195091809.003.0002.

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Abstract “The city and its suburbs lie in one of the most beautiful and romantic regions of Saxony, on the left bank of the Mulde, between gardens, meadows, and fertile fields. … The entire area around Zwickau has so many natural beauties that one could actually call it a park:’1 It was here in Zwickau, on 8 June 1810 at 10:30 P.M., that Robert Schumann was born the fifth and last child of August Schumann and Johanna Christiana Schumann nee Schnabel. The young Schumann passed his early years in a milieu conducive to the pursuit of literary studies. His father, by several accounts an active, ingenious, and industrious man,2 is often described as a book dealer, though the scope of his activities was considerably wider. The author of chivalric romances and an indefatigable lexicographer, August Schumann made a small fortune by publishing pocket editions of Sir Walter Scott’s novels and other foreign classics in German translation. Soon before his death in August 1826 he began to issue similar editions of Byron’s works; these publications were not lost on his son, who during the summer of 1827 set one of the English poet’s lyrics (“I saw thee weep”) as a lied entitled Die Weinende.
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"Musico-Literary Research in the Last Two Decades [1950–1970] (1970)." In Musico-Poetics in Perspective. BRILL, 2000. http://dx.doi.org/10.1163/9789004489738_016.

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"Musico-Literary Research in the Last Two Decades (1970–1990): A Sequel." In Musico-Poetics in Perspective. BRILL, 2000. http://dx.doi.org/10.1163/9789004489738_007.

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"Calvin S. Brown: A List of Publications Concerned with Musico-Literary Relations." In Musico-Poetics in Perspective, edited by Jean-Louis Cupers and Ulrich Weisstein. BRILL, 2000. http://dx.doi.org/10.1163/9789004489738_004.

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