Thematische Bibliographien / Set poetry to music

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Auswahl der wissenschaftlichen Literatur zum Thema „Set poetry to music“

Autor: Grafiati

Veröffentlicht am 28. Juni 2021

Zuletzt aktualisiert am 17. Februar 2022

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Zeitschriftenartikel zum Thema "Set poetry to music"

Hatten, Robert S. „A Surfeit of Musics: What Goethe's Lyrics Concede When Set to Schubert's Music“. Nineteenth-Century Music Review 5, Nr. 2 (November 2008): 7–18. http://dx.doi.org/10.1017/s1479409800003347.

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Of the many possible relationships between music and poetry, which are but a small subset of the possible relationships between music and text, I have chosen a still narrower focus for inquiry. I will investigate two independent, lyric poems whose musically poetic language and form was fully conceived without any expectation that a composer might use their texts as structural scaffolding and expressive inspiration for related, and emergent, musical and artistic ends. Two lyric poems by Goethe, each set by Schubert, will serve to illustrate the conflict between poetic and instrumental/vocal musics, in which the lyric poems inevitably concede something of their music to an appropriation by, and not merely a translation into, another artistic medium. Even when Schubert succeeds in exemplifying, or expanding upon, the symbolic richness of meaning embodied in the poem, we should consider the fate of overwritten meaning embodied in the musical language and form of the poem by itself.

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Petrenko, Olha. „Music code of poetry Dmitry Kremeny“. Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 66, Nr. 3 (2019): 186–90. http://dx.doi.org/10.33310/2518-7813-2019-66-3-186-190.

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The article deals with the role of musical images in the poetry of Dmitry Kremen. The subject of study is the music code, which is present in many works of the poet. Musical signs, symbols, links play a significant role in vocabulary, phraseology and other ways of poetic expressiveness. Familiarity with the subject world of D. Kremin's poetic texts includes a wide range of concepts related to the world of sounds. The additional accents of a musical-conceptual thesaurus arise when musical cues form certain speech turns that acquire the meaning of metaphors. Musical signs in the lyrics of Dmitry Kremin imply awareness of a wide range of sound associations, which the poet interprets from the standpoint of his own value attitude to them. Beethoven, Chopin, Mozart are the names-symbols of the world music culture, which occupy a significant place in the thesaurus of Dmitry Kremin's poetic texts. Behind these subject designations lies the vast world of artistic and figurative generalization and lyrical and philosophical reflections that are gaining coded meaning. Familiarity with the poetry of Dmitry Kremin proves that the leitmotif of many of his texts is the image of a violin, which acquires different semantic shades. Thus, in Beethoven's poetry, the poet emphasizes the value of music as a special language, devoid of words, but empowered to embody emotional and semantic richness, and therefore capable of being the language of angels. Music code the poetry of Dmitry Kremen is a multidimensional system in which the concept of "music" acts as a concept as a set of meaningful characters and their semantic meanings. In the process of decoding Dmitry Kremin's poetry, one can discover the deep semantic loads of the musical code, on the one hand – as the embodiment of the categories of high, sublime, valuable and eternal in the human sense, on the other – as a symbol of the extra-material, mystical, language of which the angels speak. Decoding the poet's texts is the process of extracting recognition codes and perception codes. The codes of perception in the poetry of Dmitry Kremenya are meaningful loads of texts, its semantic components, which highlight the deep meanings of texts. Through the musical code, the poet embodies the content of the categories of the sublime and the beautiful. The music code shows the understanding of poetry of Dmitry Kremenin a deeply metaphorical sense.

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Steane, John, Boris Ford und Benjamin Britten. „Benjamin Britten's Poets: The Poetry He Set to Music“. Musical Times 136, Nr. 1828 (Juni 1995): 309. http://dx.doi.org/10.2307/1004108.

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Watts, Carol. „Set, Unset: Collaboration, Encounter and the Scene of Poetry“. Contemporary Music Review 29, Nr. 2 (April 2010): 145–58. http://dx.doi.org/10.1080/07494467.2010.534921.

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Riman, Kristina, und Helena Pavletić. „Poetske, tematske i leksičke značajke uglazbljene dječje poezije 19. stoljeća na primjeru tekstova Ljudevita Varjačića“. Magistra Iadertina 14, Nr. 2 (16.11.2020): 87–102. http://dx.doi.org/10.15291/magistra.3148.

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In the second half of the 19th century, children’s poems were mostly published in periodicals and poem collections. Until now less attention has been devoted to the poems that had been set to music and included in the songbooks published in the late 19th century. Ljudevit Varjačić was the acclaimed author of children’s verses used for song lyrics. He is known as a particularly prolific collaborator of the Smilje magazine, whose songs were often set to music. Among other things, he also published “Lira”, a songbook with music notation for male and female school youth, and his poems were set to music in other songbooks for children and youth. Varjačić poems set to music are analysed in this paper with regard to their poetic, thematic and lexical features. His poetry is written with the well-defined overall metric pattern and rhyme, marked by pedagogical and ethical tendencies. Lexical analysis showed several topics on which Varjačić writes: songs that refer to physical work, songs that inspire learning, songs expressing love for mother, patriotic songs, religious songs, and songs about vacation and fun. Although some of these lyrics are still offered to children, we conclude that their poetic, thematic and lexical features are no longer close to the contemporary recipient.

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Qureshi, Regula Burckhardt. „Musical Gesture and Extra-Musical Meaning: Words and Music in the Urdu Ghazal“. Journal of the American Musicological Society 43, Nr. 3 (1990): 457–97. http://dx.doi.org/10.2307/831743.

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This ethnomusicological inquiry into the text-music relationship assumes a broadly contextual perspective that encompasses, but goes beyond, traditional considerations of textual and musical structures with the aim of exploring the sources of meaning for what Edward Cone terms the "gestural character" of the musical utterance. The approach calls for making explicit the ideational framework as well as the performative function of a vocal genre, both of which inform the way its musical idiom serves to communicate a text in performance. The ghazal, subject of this case study, is the principal poetic form in Urdu; it is set to music in a number of related but distinct genres. Illustrated by a set of transcribed and translated examples, the analytical procedure first considers the text-music structure as a performance idiom that is subject to the cultural-historical background norms of Urdu poetry on the one hand and North Indian "light" music on the other. The second stage considers each particular genre in terms of its idiom's specific function in performance. The general conclusion is that music linked to ghazal poetry is structurally constrained by the text as performed, but that purely musical features articulate, and thus link, the text with the content of its performance. Hence ghazal music represents a synthesis of text and context in its embodiment of features drawn from both and expressed directly through a unique vocabulary of musical gestures.

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Winn, Matthew B., und William J. Idsardi. „Musical evidence regarding trochaic inversion“. Language and Literature: International Journal of Stylistics 17, Nr. 4 (November 2008): 335–49. http://dx.doi.org/10.1177/0963947008092501.

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This study investigates an unresolved issue in poetic metrics — the trochaic inversion — the apparent substitution of a trochaic foot in place of an iambic foot in an otherwise iambic line of verse. Various theories have been proposed to explain this metrical variation, including specific metrical units, groupings of beats and offbeats, and constrained definitions of metrical units via concepts such as stress maxima. By positing a structural comparison between the verse and music of set poetry, the current project attempts to evaluate theories of poetic metrics using a new empirical methodology. Specifically, musical settings of iambic poetry with trochaic inversion are examined. Our analysis shows that the musical settings predicted from various prevalent theories do not map neatly onto the actual musical settings, which suggests that they do not adequately describe the actual rhythmic effect of the trochaic inversion. The music instead suggests that we regard this metrical pattern not as a trochee in place of an iamb, but rather as a unary stressed foot followed by an anapest.

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O'Brien, John. „Ronsard, Belleau and Renvoisy“. Early Music History 13 (Oktober 1994): 199–215. http://dx.doi.org/10.1017/s0261127900001352.

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Howard Mayer Brown's stimulating paper pays greatest attention to the centrality of Ronsard as the fons et origo for musical settings. One often has the impression, reading the paper, that there was no substantial problem of imitation in these settings: the composers simply took the words supplied by Ronsard and set them to music. In the comments which follow, I want to suggest a different approach to this question of imitation within Renaissance poetry and to ask what effect the issue of imitation itself had in the dialogue between poetry and music in mid sixteenth-century France. The focus I shall be using is the Anacreon of 1554.

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Brown, A. Peter. „Musical Settings of Anne Hunter's Poetry: From National Song to Canzonetta“. Journal of the American Musicological Society 47, Nr. 1 (1994): 39–89. http://dx.doi.org/10.2307/3128836.

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Anne Hunter (1742-1821) seems to have appeared suddenly on the London scene when she provided Joseph Haydn with texts for his English songs published under the fashionable title of canzonettas. Yet long before Haydn arrived in London, she had already established herself as a writer of lyrics for the Scottish national song movement and of the famed "Death Song" of a Cherokee Indian set to "an original Indian air." Some believe that her poems provided a model for Robert Burns. Her lyrics were also set by Johann Peter Salomon and requested by the propagator and publisher of national song in the British Isles, George Thomson.

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Shimshon-Santo, Amy. „‘Do our lives matter?’ Music, poetry, and Freedom School“. Education, Citizenship and Social Justice 13, Nr. 3 (17.09.2018): 256–67. http://dx.doi.org/10.1177/1746197918793057.

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This article presents synergies between arts education, political consciousness raising, and leadership development for youth, and suggests roles for the arts in community organizing for personal and social change. Arts education is seen as a strategy to unleash creativity, affirm cultural assets, cultivate multiple literacies, critique oppressive social practices, and ignite freedoms. Rooted in the US civil rights movement of the 1960s, Freedom Schools became a national network committed to youth development. The case study, set in the Freedom School of South Los Angeles, introduces readers to geographical, cultural, and institutional contexts for the work; outlines a critical methodology for participatory action research; and shares transformational autoethnographies of teaching and learning in arts education classrooms. It is grounded in intersectional feminist methodologies, and is aimed at educators, artists, urbanists, and cultural studies practitioners. The work invested in youth voice and professional development of novice teachers by activating creativity and intergenerational mentorship to reimagine alternative futures. Short term project outcomes are conveyed, alongside longer-term implications for systemic change that values the lives of black and brown youth, families, and communities.

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Dissertationen zum Thema "Set poetry to music"

Hsieh, Ching-Hsuan Lily. „Chinese poetry of Li Po set by four twentieth century British composer: Bantock, Warlock, Bliss, and Lambert“. The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1086095656.

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Ohki, Hitomi. „American Poet Emily Dickinson Set to Music by 20th Century Composers“. Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3869.

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When singers perform art songs, how many of them, especially students, learn about the poem and poet behind the lyrics? It might be that a number of singers focus on composers, however not poets. Even in concert programs, it is common to only write the composer’s name. I am one of the singers that has learned lyrics in the last minute before a concert or an examination. I will experiment with changing my learning process and see if that makes any difference when performing the art song. The purpose of this study is also to focus on the poet Emily Dickinson. Furthermore, to find out about the music of composers from the 20th century onwards using Dickinson’s poems. I choose Aaron Copland’s song cycle “Twelve Poems of Emily Dickinson”. Finally, I will perform the work and demonstrate if there is a difference in the singing interpretation by studying not only the music but also the poems behind the lyrics. “Who is Emily Dickinson?” The study explores this question first. After researching 100 songs using her poems, I chose three composers, Aaron Copland, Libby Larsen and Niccolò Castiglioni. Thereafter, “Bind me - I can still sing” of Larsen and “Dickinson-Lieder” of Castiglioni is mentioned. Furthermore, the song cycle “Twelve Poems of Emily Dickinson” by Copland is analyzed deeply to find out more about the piece and why the composer was inspired by Dickinson. It was discovered that one is able to understand the piece deeply, knowing not only about the life of the composer, but also the poet leads to a better understanding of the work. From the singer’s point of view, the level of expression and singing performance has improved after researching the poet Emily Dickinson. The study concludes knowing deeply about the poet that there is no doubt how important the poem is when understanding and interpreting art song.

Soprano: Hitomi Ohki

Piano: Anders Kilström

Aaron Copland (1900-1990)

Twelve Poems of Emily Dickonson

1, Nature, the gentlest mother

2, There came a wind like a bugle

3, Why do they shut me out of Heaven?

4, The world feels dusty

5, Heart, we will forget him!

6, Dear March, come in!

7, Sleep is supposed to be

8, When they come back

9, I felt a funeral in my brain

10, I've heard an organ talk sometimes

11, Going to Heaven!

12, The Chariot

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Bassett, Dennis M. „The Five Song Collections of John David Earnest Set to the Poetry of Robert Bode: A Performer's Perspective“. Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243567209.

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Timman, Matthew Peter. „The Drum Set Works of Stuart Saunders Smith as a Correlative Trilogy through Compositional Unity and Autobiographical Content as Confession“. Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1400161867.

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Shortway, Christopher Greg. „Set in motion“. Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1078.

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Set in Motion is a composition in two movements for an ensemble of 10 instruments that interacts with a computer in real-time performance using Max/MSP software. The instrumental writing in the piece focuses on incorporating electronic composition techniques into acoustic composition. Techniques such as constructing envelopes, shading, and sound masses, which are common in electronic works are applied to the ensemble. Also, the intervals of a major and minor second are important in the instrumental writing. These intervals provided the basis for the material, which was then transformed algorithmically, both in individual lines and whole sections of music. In terms of the electronics, the first movement takes advantage of the interactive possibilities of the software. The electronic part is created through the computer extending, processing, and responding to the instruments. The techniques include extracting small grains of sound from the live instruments and repeating them, analyzing the pitch of the signal and amplifying overtones, and rearranging fragments in blocks of recorded sound. The second movement changes the focus of the electronic sound. The electronics are made of precomposed gestures that compliment the live instruments. These gestures are categorized and selected randomly according to specific characteristics. Filtering and other effects applied to the sounds are chosen randomly as well.

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Rosenbaum, Traci J. „The Music of Turbulence“. ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1891.

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Wertz, Charles Bradley. „Artistic expression in music and poetry“. Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3597.

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Blizzard, Amy. „The nightingale in poetry and music“. Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20031/blizzard%5Famy/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2003.
Accompanied by 3 recitals, recorded Nov. 28, 1994, Mar. 5, 2001, and Feb. 17, 2003. Recording for June 10, 1996 missing. Includes bibliographical references (p. 71-74).

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Dargan, James Thomas. „Gerard Manley Hopkins: poetry and music“. Thesis, Boston University, 2006. https://hdl.handle.net/2144/27629.

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Boston University. University Professors Program Senior theses.
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02

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Knapp, Christian. „Creating Music Visualizations in a Mandelbrot Set Explorer“. Thesis, Linnéuniversitetet, Institutionen för datavetenskap, fysik och matematik, DFM, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-21135.

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The aim of this thesis is to implement a Mandelbrot Set Explorer that includes the functionality to create music visualizations. The Mandelbrot set is an important mathematical object, and the arguably most famous so called fractal. One of its outstanding attributes is its beauty, and therefore there are several implementations that visualize the set and allow it to navigate around it. In this thesis methods are discussed to visualize the set and create music visualizations consisting of zooms into the Mandelbrot set. For that purpose methods for analysing music are implemented, so user created zooms can react to the music that is played. Mainly the thesis deals with problems that occur during the process of developing this application to create music visualizations. Especially problems concerning performance and usability are focused. The thesis will reveal that it is in fact possible to create very aesthetically pleasing music visualizations by using zooms into the Mandelbrot set. The biggest drawback is the lack in performance, because of the high computation effort, and therefore the difficulties in rendering the visualization in real-time.

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Bücher zum Thema "Set poetry to music"

Benjamin, Britten. Benjamin Britten's poets: The poetry he set to music. Manchester, England: Carcanet, 1996.

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Boris, Ford, Hrsg. Benjamin Britten's poets: The poetry he set to music. Manchester, England: Carcanet, 1994.

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Life is a poem-- often set to music. Middletown, Conn: Southfarm Press, 1999.

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Index to poetry in music: A guide to the poetry set as solo songs by 125 major song composers. New York: Routledge, 2003.

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Fitch, Donald. Blake set to music: A bibliography of musical settings of the poems and prose of William Blake. Berkeley: University of California Press, 1990.

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Fitch, Donald. Blake set to music: A bibliography of musical settings of the poems and prose of William Blake. Berkeley, CA: University of California Press, 1989.

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illlustrator, Olson Julie 1976, Hrsg. Discover America: From sea to shining sea. Salt Lake City, Utah: Stone Mountain, 2014.

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Hans, T. S. C. Walking is dancing, talking is singing =: Sen ge susun, kaji ge duran̂ : the development of Munda poetry, music, and dance : contribution of the Christian church. Ranchi: Project Vikas, 1990.

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Eamonn, Mac Ruairi, Hrsg. Ar Chreag i lár na farraige: Amhráin agus amhránaithe i dToraigh. Indreabhán, Conamara: Cló Iar-Chonnachta, 2002.

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Anstey, Robert G. Anaconda music: Poetry. Vernon, B.C: West Coast Paradise Pub., 1996.

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Buchteile zum Thema "Set poetry to music"

Lindley, David. „Music and Poetry“. In A New Companion to English Renaissance Literature and Culture, 264–77. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319019.ch59.

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Bucknell, Brad. „Music“. In A Companion to Modernist Poetry, 47–57. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118604427.ch4.

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Armstrong, Isobel. „‘A Music of Thine Own’“. In Victorian Poetry, 293–348. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315775883-13.

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Feldman, Evan, und Ari Contzius. „Large Ensemble Set-Up“. In Instrumental Music Education, 200–212. Third edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429028700-14.

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Martorell, Agustín, und Emilia Gómez. „Contextual Set-Class Analysis“. In Computational Music Analysis, 81–110. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-25931-4_4.

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Davies, Keri. „Blake Set to Music“. In Blake 2.0, 189–208. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230366688_14.

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Acquisto, Joseph. „Swann Set to Music“. In Proust, Music, and Meaning, 51–72. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47641-4_3.

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Da Costa, Newton C. A., und Décio Krause. „Set-Theoretical Models for Quantum Systems“. In Language, Quantum, Music, 171–81. Dordrecht: Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-017-2043-4_16.

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Andrews, Richard. „Polyrhythmicity in Poetry“. In Polyrhythmicity in Language, Music and Society, 69–88. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-0566-6_6.

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Meredith, David. „Analysing Music with Point-Set Compression Algorithms“. In Computational Music Analysis, 335–66. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-25931-4_13.

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Konferenzberichte zum Thema "Set poetry to music"

Hou, Yanshuang, und Xinglong Guo. „Music Creation Environment of Music Poetry“. In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.4.

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Cheng, Fangping. „Study on Music Literature Characteristics of Song Poetry“. In International Conference on Education, Management and Computing Technology (ICEMCT-16). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemct-16.2016.40.

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Luzzi, Cecilia. „ManUScript Italian poEtry in muSic (1500-1700) interoperable model“. In the 1st International Workshop. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2660168.2660189.

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Garcia-Matos, Marta, und Silvia Carrasco. „Light on the Waves: Science, music, poetry… and light!“ In 12th Education and Training in Optics and Photonics Conference, herausgegeben von Manuel F. P. C. Martins Costa und Mourad Zghal. SPIE, 2014. http://dx.doi.org/10.1117/12.2070733.

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Zeng, Tong. „On Rhyme, Melody and Artistic Charm of Vocal Music Works in Classical Chinese Poetry“. In International Conference on Education, Management and Computing Technology (ICEMCT-15). Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icemct-15.2015.68.

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Omer, Ahmed Ibrahim Ahmed, und Michael Philip Oakes. „Arud, the Metrical System of Arabic Poetry, as a Feature Set for Authorship Attribution“. In 2017 IEEE/ACS 14th International Conference on Computer Systems and Applications (AICCSA). IEEE, 2017. http://dx.doi.org/10.1109/aiccsa.2017.48.

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Nayak, Sushobhan, und Ankit Bhutani. „Music Genre Classification Using GA-Induced Minimal Feature-Set“. In 2011 Third National Conference on Computer Vision, Pattern Recognition, Image Processing and Graphics (NCVPRIPG). IEEE, 2011. http://dx.doi.org/10.1109/ncvpripg.2011.61.

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Hussein, Hussein, Burkhard Meyer-Sickendiek und Timo Baumann. „Tonality in Language: The Generative Theory of Tonal Music as a Framework for Prosodic Analysis of Poetry“. In TAL2018, Sixth International Symposium on Tonal Aspects of Languages. ISCA: ISCA, 2018. http://dx.doi.org/10.21437/tal.2018-36.

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Valdez, Nicanor Marco P., und Rowena Cristina L. Guevara. „Feature set for Philippine Gong Music classification by indigenous group“. In TENCON 2011 - 2011 IEEE Region 10 Conference. IEEE, 2011. http://dx.doi.org/10.1109/tencon.2011.6129121.

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Schedl, Markus, Nicola Orio, Cynthia C. S. Liem und Geoffroy Peeters. „A professionally annotated and enriched multimodal data set on popular music“. In the 4th ACM Multimedia Systems Conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2483977.2483985.

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Berichte der Organisationen zum Thema "Set poetry to music"

Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, Februar 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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Annotation:

The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.

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