Relevant bibliographies by topics / Poetry; Music

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Poetry; Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Poetry; Music.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Poetry; Music"

1

Petrenko, Olha. "Music code of poetry Dmitry Kremeny." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 66, no. 3 (2019): 186–90. http://dx.doi.org/10.33310/2518-7813-2019-66-3-186-190.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
2

Brooks, Jeanice. "Ronsard, the Lyric Sonnet and the Late Sixteenth-Century Chanson." Early Music History 13 (October 1994): 65–84. http://dx.doi.org/10.1017/s0261127900001303.

Full text
Abstract:
Music was an important metaphor for Ronsard, and references to music and musical instruments are frequently found in his poetry. His writings about music are few, however. In his article ‘Ut musica poesis: Music and Poetry in France in the Late Sixteenth Century’ Howard Brown has referred to two of the most explicit examples of such writing: the preface to Le Roy and Ballard's Livre de meslanges (1560) and the passage from Ronsard's Abbregé de l'art poëtique françois (1565) on the desirability of union between poetry and music. Such passages are important in illuminating poets' attitudes towards music and in demonstrating ways in which the relationship between text and music could be conceptualised in the sixteenth century. They are frustratingly vague, however, about how the poets' ideals should be achieved, and they leave many practical questions unanswered. Did poets have any influence on composers' choices of texts? Did movements in poetic circles ever affect the pitches or rhythms of musical settings – that is, could poets influence the way music sounded?
APA, Harvard, Vancouver, ISO, and other styles
3

Gostoli, Antonietta. "Τὸ καλόν as a Criterion for Judging Innovation (τὸ καινόν) in Greek Musical Pedagogy." Greek and Roman Musical Studies 7, no. 1 (March 21, 2019): 21–32. http://dx.doi.org/10.1163/22129758-12341332.

Full text
Abstract:
Abstract The Pseudo-Plutarchan De musica provides us with the oldest history of Greek lyric poetry from pre-Homeric epic poetry to the lyric poetry of the fourth century BC. Importantly, the work also contains an evaluation of the role of music in the process of educating and training citizens. Pseudo-Plutarch (Aristoxenus) considers the καλόν in the aesthetic and ethical sense, which makes it incompatible with the καινόν dictated by the new poetic and musical season.
APA, Harvard, Vancouver, ISO, and other styles
4

Gostoli, Antonietta. "Τὸ καλόν as a Criterion for Evaluating Innovation (τὸ καινόν) in Greek Theory of Musical Education: “Ancient” versus “New” Music in Ps. Plut. De musica." Peitho. Examina Antiqua 8, no. 1 (October 24, 2017): 379–90. http://dx.doi.org/10.14746/pea.2017.1.24.

Full text
Abstract:
The Pseudo-Plutarchan De musica provides us with the oldest history of Greek lyric poetry from the pre-Homeric epic poetry to the lyric poetry of the fourth century B.C. Importantly, the work contains also an evaluation of the role of music in the process of educating and training the citizens. Ps. Plutarch (Aristoxenus) considers the καλόν in the aesthetic and ethical sense, which makes it incompatible with the καινόν dictated by the new poetic and musical season.
APA, Harvard, Vancouver, ISO, and other styles
5

Gostoli, Antonietta. "Τὸ καλόν as a Criterion for Evaluating Innovation (τὸ καινόν) in Greek Theory of Musical Education: “Ancient” versus “New” Music in Ps. Plut. De musica." Peitho. Examina Antiqua, no. 1(8) (October 24, 2017): 379–90. http://dx.doi.org/10.14746/peitho.2017.12238.

Full text
Abstract:
The Pseudo-Plutarchan De musica provides us with the oldest history of Greek lyric poetry from the pre-Homeric epic poetry to the lyric poetry of the fourth century B.C. Importantly, the work contains also an evaluation of the role of music in the process of educating and training the citizens. Ps. Plutarch (Aristoxenus) considers the καλόν in the aesthetic and ethical sense, which makes it incompatible with the καινόν dictated by the new poetic and musical season.
APA, Harvard, Vancouver, ISO, and other styles
6

Papierski, Maciej. "Music As Translation. Musical Motifs in Liebert’s Poetry." Tekstualia 1, no. 5 (December 31, 2019): 59–66. http://dx.doi.org/10.5604/01.3001.0014.4100.

Full text
Abstract:
This article is devoted to analyses of musical motifs in poetry by a Polish author Jerzy Liebert (1901–1934). Two main kinds of metaphorically understood music can be distinguished in his work: the earthly, referring to human fi niteness, and the transcendental, which is the divine music of God. In the investigation of this problem, Boethian typology of music (musica mundana, musica instrumentalis, musica humana) is engaged. The results of these analyses contribute to the understanding of how the human condition confronts the perfect nature of the Creator in Liebert’s poetry. The article argues that musical motifs seem to be yet another expression of this problem, ubiquitous in the poet’s work; thus, they are essential to its correct interpretation.
APA, Harvard, Vancouver, ISO, and other styles
7

Ushakova, Olga M. "Wagnerian Contexts and Wagner’s Codes of T.S. Eliot’s Poetry, 1910-20s." Literature of the Americas, no. 10 (2021): 266–309. http://dx.doi.org/10.22455/2541-7894-2021-10-266-309.

Full text
Abstract:
The paper deals with the analysis of reception and poetic transformation of aesthetic concepts and music ideas of Richard Wagner (1813–1883) in the works by T. S. Eliot (1888–1965). The research material includes the poems of the 1910-20s (“Opera”, “Paysage Triste”, “The Love Song of J. Alfred Prufrock”, The Waste Land) as well the essay “Dante” and lectures “The Varieties of Metaphysical Poetry”, “The Music of Poetry”. The research is aimed to solve the problem of genesis of Eliot's Wagnerianism and identify the Wagnerian codes for his poetic texts. Following the representatives of literary Wagnerianism Eliot assimilated the ideas of revolutionary art, anti-bourgeois pathos, ideas of synthesis of arts, indivisibility of poetry and music, mythopoesis, etc. The poetry of the 1910–20s reflected Eliot’s interest in a wide cultural context (Wagnerianism and “Wagnerovschina”), Neo-Mythologism, etc. The poetry of this period is characterized by representation of Wagnerian “situations” and plots (the Grail plot), themes, composition strategies (system of leitmotifs, multi-layered text, etc.), music techniques (atonality, “endless melody”, suggestiveness, etc.), the direct quotations from Wagner’s works, etc. The author of the paper suggests that The Waste Land was created as a Gesamtkunstwerk, a complex multi-level poetic intermedial structure incorporating the elements of different arts (music, painting, scenography, dance, etc.).
APA, Harvard, Vancouver, ISO, and other styles
8

Basile, Donna. "Music and Poetry." Music Educators Journal 80, no. 4 (January 1994): 58. http://dx.doi.org/10.2307/3398734.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Anonymous and Andrew Schelling. "Music and Poetry." Manoa 25, no. 2 (2013): 38–39. http://dx.doi.org/10.1353/man.2013.0050.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Bachmann, Ingeborg. "Music and poetry." Contemporary Music Review 5, no. 1 (January 1989): 139–41. http://dx.doi.org/10.1080/07494468900640591.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Poetry; Music"

1

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

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.

Full text
Abstract:
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).
APA, Harvard, Vancouver, ISO, and other styles
3

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

Full text
Abstract:
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
APA, Harvard, Vancouver, ISO, and other styles
4

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Plamondon, Marc. "Music in the poetry of Robert Browning." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26304.

Full text
Abstract:
This thesis attempts to characterize the musicality of Robert Browning's poetry. There has been much debate about whether or not Browning may be said to be a musical poet, but neither side has effectively characterized the musicality or lack thereof in his poetry. This study does not concentrate on Browning's "philosophy" of music, nor on the musical allusions in his poetry. Instead it attempts to identify aspects of Browning's art that share an affinity with music.
First, the state of music in nineteenth-century England is briefly discussed, followed by a discussion of Browning's musical background and an attempt to identify some general characteristics of musical poetry. The balance of the study is devoted to a discussion of the musicality of ten poems, among them "A Toccata of Galuppi's" and "Master Hugues of Saxe-Gotha". Emphasis is placed on these last two poems' ability to approximate a musical form: the toccata and fugue in the first, and the fugue in the second. The study concludes with a more general discussion of music in Browning's poetry.
APA, Harvard, Vancouver, ISO, and other styles
6

Frendo, Maria. "T.S. Eliot and the music of poetry." Thesis, Durham University, 1999. http://etheses.dur.ac.uk/4565/.

Full text
Abstract:
This thesis is a study of T.S. Eliot's poetry in the light of the different ways in which it can be considered 'musical'. Two concerns central to the thesis are: (1) Eliot's enduring interest in the musical quality of poetry; (2) the critical usefulness and viability of drawing analogies between his poetry and music. The thesis considers three important related topics: (1) Eliot's preoccupation with language, its inevitability and its inadequacy; (2) the figure of the seeker in his poetry; (3) his interest in mysticism. The thesis begins by exploring affinities between music and literature in the context of Wagner’s ideal of the 'Gesamtkunstwerk' and its influence on French Symbolist writers. It goes on to trace the development of T.S. Eliot's poetic style as influenced by the French Symbolist poets, by Dante and the mediaeval mystics, and by the music of Wagner, Stravinsky and other composers. Throughout, Eliot's poetry presents variations on the theme of detachment and involvement in relation to the figure of the seeker: consciousness is most engaged and challenged when it journeys. In the early poetry, music serves to emphasize failed relationships: the closer the physical proximity between protagonists, the greater the psychological distance. From The Waste Land on, Eliot makes use of myth and leitmotif to portray consciousness in the role of seeker urged on by the need for meaning. After his conversion to Anglo-Catholicism in 1927, Eliot's characters embark on a journey inward, where music, now "unheard", no longer signifies neurosis and despair, but becomes the only language for the ineffable.
APA, Harvard, Vancouver, ISO, and other styles
7

Wilson, Geoffrey Allan. "Music and poetry in Mallarmé and Debussy." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31748.

Full text
Abstract:
My dissertation re-evaluates music and poetry in the works of Claude Debussy and Stéphane Mallarmé. Often in such collaborations, critics assume that the music mimics various aspects of the texts it engages. Instead, I argue for a more nuanced paradigm that values both concurrences and antagonisms between the two media, in light of the specific systems of thought characterizing, respectively, the poet and the musician. Chapter One re-evaluates the role of music in Mallarmé's oeuvre. Mallarmé imagined an original language in which individual phonemes created the meaning of words. As languages evolved and multiplied, the sound-sense relationship in words became increasingly arbitrary. Traces of this original language are visible in contemporary idioms when a group of words share both a phonemic and a semantic link. For him, poetry exists to reconstruct sound-sense relationships in modern language. These relationships, and the patterns of thought they enact, are music for Mallarmé, a music which the sound of instruments and singers merely implies. Drawing evidence from Mallarmé's letters and critical writings, I establish the "musical" nature of his language and show its use in analyses of selected poems. In the remaining chapters I examine each of Debussy's compositions that engage a Mallarmé text: the songs Apparition, Soupir, Placet futile, Éventail, and the Prélude à l'après-midi d'un faune. I chronicle Debussy's early exposure to Mallarmé's poetry through Verlaine's essay "Les poètes maudits" and the song Apparition that resulted. Here, Debussy responds to the semantic content of Mallarmé's poem, constructing a musical "apparition" to parallel the poetic one. I offer a new reading of Prélude that relates it to Mallarmé's dramatic theories, and not as a mimetic illustration of the poem's text. I argue that Debussy's later song settings allow Mallarmé's poetic "music" to be perceived alongside his own. In Soupir, this is manifested through a series of mirror images in both music and text. In Placet futile, I show how the music alters the semantic message of the poem. In Éventail, I compare the interaction of wholetone, octatonic and diatonic pitch collections to the interaction between the phonetic and semantic layers of the poem.
Arts, Faculty of
Music, School of
Graduate
APA, Harvard, Vancouver, ISO, and other styles
8

Adams, Leslie Elizabeth. "Music despite everything." Master's thesis, Mississippi State : Mississippi State University, 2008. http://library.msstate.edu/etd/show.asp?etd=etd-04042008-131845.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Gutman, Laura A. "Gerard Manley Hopkins and the music of poetry." Thesis, University of St Andrews, 1988. http://hdl.handle.net/10023/2625.

Full text
Abstract:
This study attempts to correlate two facts about Gerard Manley Hopkins: that he was an avid musician, who theorised about and composed music; and that his poetry is characterised by its highly complex, evocative sounds and by its relation of form to meaning, sound to sense. This study is an attempt to prove that Hopkins is a "musical" poet in a specific and literal sense--that his musical knowledge and interests influenced his poetry in specific and discernible ways, making his work "musical" in a sense that other poetry of his age is not (or to an extent that other poetry is not), and resulting in much of what we consider to be characteristic in his verse. The study is divided into two parts, the first (I-III) analysing the role music plays in his theoretical writings, the second (IV-VI) tracing these musical influences through to the musical and poetic art itself. In Part One, Chapter I presents Hopkins the musician, the biographical details and philosophical background behind his musical interest; Chapter II relates this to Hopkins as priest and theologian, demonstrating music's role as central to his Scotus-based position; Chapter III then shows this musical philosophy in more detail in his theories of language and art, resulting in an ideal art of song epitomised by the art of Hopkins' favourite composer, Henry Purcell. Part Two then looks at Hopkins' art itself, shown as following this Purcellian musical ideal: Chapter IV differentiates the requirements of songs from those of poetry, and demonstrates the particular aims and techniques of Hopkins' own songs; Chapter V reveals principles of musical or song-structure behind Hopkins' concepts of sprung rhythm and other characteristic poetic devices; finally, Chapter VI analyses the poems to discover their radically musical nature. The study concludes with a brief question on the nature of "the music of poetry" generally.
APA, Harvard, Vancouver, ISO, and other styles
10

Morrison, Karen Y. "Anne Bradstreet's rap : the music in her poetry /." View abstract, 2001. http://library.ccsu.edu/ccsu%5Ftheses/showit.php3?id=1658.

Full text
Abstract:
Thesis (M.A.)--Central Connecticut State University, 2001.
Thesis advisor: Gilbert L. Gigliotti. " ... in partial fulfillment of the requirements for the degree of Master of Arts in English Literature." Includes bibliographical references (leaves 62-64). Also available via the World Wide Web.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Poetry; Music"

1

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

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Sinha, Sanjiva. Music of poetry. Calcutta: Writers Workshop, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Cohen, Leonard. Stranger Music. London: Random House Group Limited, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Music in Russian poetry. New York: Peter Lang, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Music appreciation. Gainesville, Fla: University Press of Florida, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Stephenson, Dorothy M. Poetry, music of the soul. Nappanee, IN: Evangel Press, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Beattie, James. Essays: On poetry and music. London: Routledge, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Music and suicide. New York: Farrar, Straus and Giroux, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Art as music, music as poetry, poetry as art, from Whistler to Stravinsky. Burlington, VT: Ashgate, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Brathwaite, Kamau. Jah music. Mona [Jamaica]: Savacou Cooperative, 1986.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Poetry; Music"

1

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Oliver, Douglas. "The Music of Translation." In Poetry and Narrative in Performance, 57–65. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-10445-1_5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Čurda, Martin. "Four Songs on Chinese Poetry." In The Music of Pavel Haas, 209–45. New York: Routledge, 2020. | Series: Ashgate studies in theory and analysis of music after 1900: Routledge, 2020. http://dx.doi.org/10.4324/9780429433351-7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

DuMars, Susan Millar. "William Carlos Williams: Music and Machines." In The Portable Poetry Workshop, 213–17. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-60596-2_33.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Webster, Peter. "Music, Art and Poetry: 1944–1955." In Church and Patronage in 20th Century Britain, 85–118. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-36910-9_4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Strommer, Jean Theresa, and Joan Elizabeth Strommer. "Transcendence in Poetry, Music and Film." In Life the Human Quest for an Ideal, 107–13. Dordrecht: Springer Netherlands, 1996. http://dx.doi.org/10.1007/978-94-009-1604-3_8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Stevenson, Anne. "Defending the Freedom of the Poet/Music Under the Skin." In Contemporary Women’s Poetry, 1–11. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1007/978-1-137-15406-4_1.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Poetry; Music"

1

Hou, Yanshuang, and 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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Haupert, Mary Ellen. "CREATIVITY, MEANING, AND PURPOSE: MIXING CULTURES IN CREATIVE COLLABORATION." In INNODOCT 2019. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inn2019.2019.10109.

Full text
Abstract:
Music composition is embedded into the Viterbo University music theory curriculum to promote active engagement of musical materials. The project accomplishes three basic complementary outcomes: 1) Students will be able to creatively apply and develop the foundations of music theory learned in their first year of university-level music study, 2) Students will develop proficiency using music writing software, and 3) Students will overcome their fear of composition and gain confidence as musicians. Students are taught foundational concepts during the first four semesters of music theory; these concepts are creatively applied and developed in the gestation and birth of a musical composition that is original and personal. Meaning and purpose, combined with guidance and encouragement, sustain these freshmen and sophomore students over a five-month process of framing a concept, composing music, editing their scores, and finally rehearsing and performing their works. The “concept” for the 2018-2019 freshmen and sophomore music theory students was a collaborative venture with Gateway Christian School, which is part of Project Gateway in Pietermaritzburg, South Africa. Poetry written specifically for this project by Grade 7 students was collected and given to Viterbo University students for setting; the learning outcomes, as well as the benefits and global focus of the project will be the focus of this paper.
APA, Harvard, Vancouver, ISO, and other styles
6

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Hussein, Hussein, Burkhard Meyer-Sickendiek, and 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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.

Full text
Abstract:
The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.
APA, Harvard, Vancouver, ISO, and other styles
9

Mendes, Caroline, Eduardo Alberti, and Péricles Gomes. "PARANISM ART MOVEMENT: THE CITY OF CURITIBA AS FOCUS OF A COMPUTER GAME THAT PROMOTES HISTORY, CULTURE, POETRY, MUSIC, ARCHITECTURE AND DESIGN." In 14th International Technology, Education and Development Conference. IATED, 2020. http://dx.doi.org/10.21125/inted.2020.1568.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Nguyen Thi, Yen. "The Three-Tiered World (Tam Phu) of the Tay People in Vietnam through the Performance of Then Rituals." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.13-3.

Full text
Abstract:
The Tay people represent an ethnic minority in the mountainous north of Vietnam. As do Shaman rituals in all regions, the Shaman of the Tay people in Vietnam exhibit uniqueness in their languages and accommodation of their society’s world view through their ‘Then’ rituals. The Then rituals require an integration of many artistically positioned and framed elements, including language (poetry, vows, chanting, the dialogue in the ritual), music (singing, accompaniment), and dance. This paper investigates The Art of Speaking of the Tay Shaman, through their Then rituals, which include use of language to describe the imaginary journey of the Shaman into the three-tiered world (Muong fa - Heaven region (Thien phu); Muong Din - Mountain region (Nhac phu); Muong Nam - Water region (combination of Thuy phu and Dia phu) to describe dealings with deities and demons, and to describe the phenomenon of possession. The methodic framework of the paper thus includes discussions of in the comparison between the concept of the three-storey world in the Then ritual of the Tay people with the concept of Tam Tu phu in the Len dong ceremony of the Kinh in Vietnam. Thereby, it clearly shows the concept of Tay people of the universe, the world of gods, demons, the existence of the soul and the body, and the existence of human soul after death. The study contributes to Linguistics and Anthropology in that it observes and describes the world views of a Northern Vietnamese ethnicity, and their negotiation with spirituality, through languages of both a spiritualistic medium and society.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Poetry; Music' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography