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"

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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’ th
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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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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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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 text
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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
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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 disadvanta
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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 fel
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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
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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 source
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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
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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
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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 musi
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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 «
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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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