Dissertations / Theses: 'Poetry; Music'

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

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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.

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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.

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

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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.

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

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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

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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.

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

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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.

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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.

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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.

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Lamp, Sebastian. "Korean Sijo music and poetry : transmission and aesthetics." Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/30276/.

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This thesis explores Korean 'sijo', as both poetry and music. It surveys the different bodies of research on the topic that are the result of 'sijo' long being treated from one or other of the perspectives of literary and musicological scholarship by both Western (e.g. Rutt 1971, McCann 1988, O'Rourke 2002) and Korean scholars (e.g. Chang Sa-hun 1986, Kim Tae-Haeng 1986, Cho Kyu-Ick 1994). Placing both literary and musicological aspects together, this thesis discusses the form, origins and content of 'sijo'. The synthesis of the two aspects forms the basis of my exploration of 'sijo' performance during the 20th century. My focus is on the transmission of 'chongga' - 'sijo', along with 'kagok' and 'kasa', that together form Korea's classical vocal music tradition - during the turbulent times from the late 19th century through the colonial period to the post-liberation era. The important actors, that is, the singers, scholars and relevant institutions - governmental and private - have been discussed at least partially in various publications (e.g. Hahn Man-young 1990, Yi Pohyong 2004, Song Bang-Song 2007, Kim Minjong 2015, Moon Hyun 2015), but this thesis provides the first thorough account of 'chongga' in the 20th century, its teaching genealogies, institutions, aspects of its preservation, and its regional variants. This thesis demonstrates that the subtle aesthetic of 'chongak' literati music lies at the heart of what constitutes 'sijo' as a genre; reference to Confucian and sometimes Daoist influence on the aesthetic of literati music is frequent, but the nature of such influence has not been adequately discussed. I survey academic writings by Korean and Western scholars (e.g. Donna Kwon 1995, Lee Byong Won 1997, Byung-ki Hwang 2001) to address terminology and concepts relevant in the context of 'chongga' and then, based on my personal fieldwork, and in order to provide a comprehensive account of 'chongga' aesthetics, I complement previous writing by incorporating the views of contemporary 'chongga' singers.

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Olson, Ted. "Ted Olson's Poetry." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1122.

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Ted Olson was the featured poet for the symposium who presented “Scotland the Brave: A Nation's Legacy in Literature and Folklore,” "When First Unto This Country: The Flow of Scottish and Scots-Irish Culture to the American South in Song and Story," "Darkness and Revelation: Ted Olson's Poetry".

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Colford, Chris. "Music and silence in the poetry of Wallace Stevens." Thesis, University of Liverpool, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316118.

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MILLER, ALEXANDER ALBERT. "GESAMTKUNSTWERK ARIZONA A CREATIVE SYNTHESIS OF POETRY AND MUSIC." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/613290.

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Throughout the history of German culture, the synthesis of text and music has been central to the cultural and social identity of its respective eras. The union of poetry and text that immediately comes to mind is the Deutsche Lieder, the term used to describe the practice of setting classic German poetry to music during the early 19th century. The poetry of the Weimarer Klassik, principally the works of Goethe and Schiller, was honored by composers of the next generation through their Lieder, seeking to manifest these renowned works in the form of music. However, the synthesis of text and music in German culture had long since been a testament to underlying social temperament, from the introspective chants of Hildegard von Bingen conveying the spiritual mysticism of the 12th century, to the cynical and ironic Episches Theater, or Epic Theater, of Bertolt Brecht in the 20th century. The idea of this project is to similarly find a synthesis of music and text, such that a perspective on the contemporary German identity is manifested and communicated with an audience, simultaneously commenting on and participating in German culture. This project culminates with a live musical performance and poetry reading, both of which are original creations by the artist, in hopes of sharing an appreciation for German culture with the University of Arizona community. The performance can be found here: https://www.youtube.com/channel/UCZEehSGWO6N81Lc0gqg8tIg

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Hannam, William B. "Arnold Bax and the Poetry of Tintagel." [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1227877436.

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Thesis (Ph.D.)--Kent State University, 2008.
Title from PDF t.p. (viewed Dec. 10, 2009). Advisor: Theodore Albrecht. Keywords: Bax, Tintagel, symphonic poem, British music. Includes bibliographical references (p. 207-213).

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Soflin, Elizabeth Louise, and Elizabeth Louise Soflin. "Text as Music, Music as Text: Stuart Saunders Smith's Works for Percussion and Spoken Word." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/624573.

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American composer Stuart Saunders Smith (b. 1948) has been active in the composition of contemporary art music for over forty years, composing over 200 musical and interdisciplinary works. His music ties the experimental world of contemporary music to his experiences living, composing, and teaching in the northeastern United States. Many of his works have included spoken word as a percussion instrument, either alone or blended with instrumental percussion writing. Although not unique in blurring the boundaries between text and music, Stuart Saunders Smith’s texted percussion works manage to both belong to tradition and exist as a unique body of works, as can be seen by studying the context of their creation, technique in synthesizing music and text, and usage of text as melodic material.

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Bugher, Jeffrey S. "Take Me With Your Shovel." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4929.

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Take Me With Your Shovel is a collection of poems that explore systems of oppression with an emphasis on psychiatry and law enforcement, the slow crawl of catching a break as a member of the blue collar class, the monotonous side of working in pop music, drug abuse, and finding God in the midst of it all--salvation through sin rather than salvation from sin.

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Igarashi, Yoko. "Japanese Poetry in Western Art Song." Thesis, Boston University, 2012. https://hdl.handle.net/2144/12426.

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Thesis (D.M.A.)--Boston University
Western art songs written on Japanese poems, Tanka, appeared in the early twentieth century as a late manifestation of Japonisme, the Japanese influence on Western art and music. The songs discussed in this dissertation include Japanisches Regenlied (1909) by Joseph Marx, Three Japanese Lyrics (1912-13) by Igor Stravinsky, Petits Poi!mes Japonais (1919) by Francesco Santoliquido, and Romances on Texts by Japanese Poets (1928-32) by Dmitri Shostakovich. Japonisme emerged as a significant movement in late-nineteenth-century Western art when Japanese artworks were first exported to Europe. Under the influence of these works, Western painters soon adopted Japanese techniques especially from traditional wood-block prints (Ukiyo-e). The appreciation of Japanese art and culture eventually emerged in Western music as a part of Orientalism and exoticism, first in opera, then in Debussy's music, and lastly in art songs. The Japanese poems used in Western art songs examined here are most commonly referred to as Tanka (a short poem), a genre that flourished between the third and tenth centuries. Because of the unique characteristics of the Japanese language, translating Japanese poems into European languages requires a certain imagination. The purpose of this dissertation is to explore the relationship between the original Japanese poems and their translations into European languages, and to discuss their transformation. The introduction provides a brief overview of Japonisme in Western art in the late nineteenth century. Chapter One focuses on the basic elements of Japanese poetry in order to outline the characteristics unique to the Japanese language. Considering Japanese influence within the category of "Orientalism" and "Exoticism" in music, Chapter Two explores the evidence for Oriental and exotic influences on Western music. Chapter Three focuses more specifically on Japanese influences in Western music. A detailed study of poems and translations, and their relationship to music is the core focus of Chapter Four. Chapter Five concludes that Tanka vanished from Western art songs soon after the songs under consideration were composed.

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Lewis, Lynnell K. "The poetry of symbolism and the music of Gabriel Fauré." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/836.

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Dares, Jasmine. ""Poetry out of poison" : exploring rap music as critical pedagogy." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44966.

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How to create learning experiences that are more relevant and empowering for young people is an ongoing issue for educators, youth workers, parents, social scientists, and students. Critical pedagogical theorists have identified gaps in formal education which limit the possibilities for critical thinking and student-centredness (Ibrahim, 2004; Low, 2007, 2011; McLaren, 1997). While many of these studies have been conducted in classroom settings, this study focuses on what can be learned from youth programs that were collaboratively developed by program directors and rap artists in community organizations. Using qualitative interviews and drawing from cultural studies, this research engages the perspectives of five participants who are actively involved in the development and implementation of hip hop youth programs. The emergent themes from the interviews highlighted hip hop culture’s relationship with social justice and social contradictions. These findings support the claim that critical rap pedagogies provide young people with more relevant learning experiences and with greater possibilities to draw connections between their own experiences and the wider community leading to greater opportunities for agency and empowerment.

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McCombie, Elizabeth. "Unheard music and unseen text : an interdisciplinary study of Mallarme and Debussy." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365638.

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Tingle, Joseph Edwin. "The emperor's music : the creation of a poetic tradition from the Han dynasty music bureau." HKBU Institutional Repository, 2012. https://repository.hkbu.edu.hk/etd_ra/1443.

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Ballenger, Hank D. "Everything and Nothing at the Same Time." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2168/.

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Burke, Victoria Elizabeth. "Women and seventeenth century manuscript culture : miscellanies, commonplace books, and song books compiled by English and Scottish women, 1600-1660." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338746.

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Aiello, Traoré Flavia. "Continuitiy and change in Zanzibari Taarab performance and poetry." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91009.

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Taarab in contemporary Zanzibar currently experiences great changes since the Nineties with the emerging and growing success of modern taarab. This has shocked the fans of the traditional style (taarab asilia) with musical and instrumental innovations, including powerful amplifiers and more danceable rhythms, but also textual innovations, using in their songs, commonly called mipasho, a sort of language and poetical imagery very open and non-disguised (Khamis 2002: 200). The perception of a split between the two musical and poetical styles is widely shared among the artists and fans of traditional taarab, but it actually tends to simplify the dynamics of continuity and change of this art deeply rooted within the social and political life of Zanzibar islands.

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Faynberg, Anton, and Anton Faynberg. "Symbiosis of Music and Poetry in Alfred Schnittke's Five Aphorisms for Piano." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/620981.

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This study relates Alfred Schnittke's Five Aphorisms for Piano (1990) both to an earlier set of piano pieces, Dmitry Shostakovich's Aphorisms (1927), and to the poetry of Joseph Brodsky (1940-96). The study identifies musical and extra-musical connections between Shostakovich and Schnittke and examines the genesis of their musical sets in light of the composers' biographies and writings. Later it explores Schnittke's relationship with Brodsky, to whom the Five Aphorisms was dedicated, and whose poetry was intended to be recited before the performance of each of the five pieces. It analyzes the worldview and philosophy of Schnittke and Brodsky within the context of Postmodernism in order to shed new light upon their artistic intentions. Finally, the study considers the broader question of the relationship between music and poetry in late Soviet artworks.

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Martin, Maria Jose. "Drama and Poetry in the Music of Maria Luisa Ozaita (b. 1939)." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1006873170.

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Holmes, Barbara. "The decomposer's art : ideas of music in the poetry of Wallace Stevens /." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487326511715011.

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Hsu, James Stephen. "Orpheus' Lyre : a study of symbolist and post-symbolist music and poetry /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488195633517853.

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Yadegari, Shahrokh. "The radif as a basis for a computer music model : union of philosophy and poetry through self-referentiality /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3120720.

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Thesis (Ph. D.)--University of California, San Diego, 2004.
Vita. Includes computer program for No flower, no incense, only sound: P. 192-239. Sound tape contains 2 compositions by the composer and an improvisation by Ivan Manzanilla with the composer: No flower, no incense, only sound; excerpt of A-window; Mirrors of the past. Includes bibliographical references (p. 241).

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Williams, Molly K. "For God and Country: Scriptural Exegesis, Editorial Intervention, and Revolutionary Politics in First New England School Anthems." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1511862418359819.

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Haydon, Liam David. "'I sing'? : narrative technique in epic poetry." Thesis, University of Manchester, 2012. https://www.research.manchester.ac.uk/portal/en/theses/i-sing-narrative-technique-in-epic-potry(3d7d23da-ade0-424c-93a2-9b183283e30e).html.

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This thesis examines the genre of epic, and particularly Milton’s Paradise Lost. It argues that it is only in attending to the contextual interactions within Paradise Lost that its full meaning can be comprehended. It demonstrates that the poem not only narrates the Fall, but actively performs its consequences in its thematic and linguistic structures, which continually stress the impossibility of approaching perfect (divine) totality. Chapter one outlines the theoretical response to epic, read as a petrified genre in contrast to the newness, openness and linguistic flexibility of the novel. It then challenges these assumptions through a reading of the invocation to book III of Paradise Lost. The chapter closes by examining seventeenth-century writings on epic, demonstrating that Milton’s contemporaries saw the epic as defined by the possibility of didactic intervention into its context. Chapter two examines the forms of the epic metaphor, which serve as a temporal link between the ‘mythic’ past of epic and contemporary events. It then shows that the nationalistic impulse of epic was a method by which the mythic past of a country was deployed as an exemplary narrative for the present. The chapter closes by considering the ways in which shifts in national conception were mapped onto the epic. Chapter three outlines Paradise Lost’s thematic engagement with the concept of representation. It focuses on the twin images of the music of the spheres and the Tower of Babel, used in Paradise Lost to represent man’s relationship with God. It argues that the poem uses these tropes to explore the linguistic effects of the Fall. Both these images are deployed to suggest that postlapsarian expression is too open and ambiguous to properly portray divinity. Chapter four moves that discussion to a linguistic level, arguing that the poem is characterised by indeterminacy. It argues that Paradise Lost calls into question the possibility of expressing perfect truth in fractured, postlapsarian language. It shows that punning is the mark of fallen creatures in the poem, and suggests that the poem’s own puns exploit this category to linguistically question its own status as representation through performances of ambiguity. The conclusion synthesises these local readings of Paradise Lost into a reading of the poem as a whole. It argues that these individual instances demonstrate the poem’s continual reflexive concern over its theodicean project. By continually expressing ambiguity, at the level of imagery and language, Paradise Lost draws attention to its status as postlapsarian art, and the consequent impossibility of approaching the divine perfection exemplified by the celestial music or prelapsarian language.

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Cotterill, Graeme James. "Music in the blood & poetry in the soul? : national identity in the life and music of Grace Williams." Thesis, Bangor University, 2012. https://research.bangor.ac.uk/portal/en/theses/music-in-the-blood--poetry-in-the-soul-national-identity-in-the-life-and-music-of-grace-williams(6bd35da8-822a-4180-ac47-5a9a0632eaf9).html.

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This thesis seeks to determine the relevance of the term 'Welsh composer' to the life and music of Grace Williams (1906-77). It first examines her relationship with the various institutions that have shaped the cultural life of Wales during the twentieth century, questioning particularly whether either party was able to exploit the resources of the other for their own and/or the wider Welsh people's benefit. The Welsh Region of the BBC is discussed in particular detail, but the impact of the policies and practices of Wales's Arts Council, National Eisteddfod, institutions of higher education, and performing artists upon Williams's output are also analysed. The second half of the thesis proceeds to examine those of Williams's works openly identified by their composer as having been influenced by her Welsh heritage: those that include native folk melodies (Hen Walia, 1930; Fantasia on Welsh Nursery Tunes, 1940); depict landscape and history (Four Illustrations for the Legend of Rhiannon, 1939; Symphonic Impressions, 1943); set Welsh texts (Gogonedawg Arglwydd, 1939; Four Mediaeval Welsh Poems, 1962); use poetic structures (Penillion, 1955; Ballads, 1968); or have no acknowledged programme beyond their Welsh-inflected title (Castell Caernarfon, 1969; Missa Cambrensis, 1971). Where otherwise unavailable, a compact history of the composition of each work is supplied (see also the prefaces to the accompanying scholarly editions), but this latter portion of the thesis prioritises musical concerns ahead of matters historical. To conclude, Williams's reception history amongst British and Welsh critics and audiences is examined for evidence that her nationality influenced not only how she composed, and for whom, but how she was widely perceived. The thesis is explicitly designed to be read alongside the present writer's scholarly editions of Four Illustrations for the Legend of Rhiannon, Gogonedawg Arglwydd, Four Mediaeval Welsh Poems, Ballads, Castell Caernarfon and Missa Cambrensis (submitted alongside it and fulfilling the requirements of the PhD degree). The text itself, therefore, includes very few musical examples, pointing instead to the relevant bar references. The Appendix to the thesis comprises a catalogue of Williams's extant works, updating and correcting those previously prepared by the National Library of Wales, Aberystwyth, and by Malcolm Boyd in his Grace Williams (Cardiff: University of Wales Press, 1980). Further material relating to Williams can be found in the present writer's 'Ambition Overshadowed: Grace Williams's symphonies evaluated' (MPhil dissertation, University of Wales, Bangor, 2007).

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Richardson, Scott. "Taking the repeats: Modern American poetry in imitation of eighteenth-century musical forms." Thesis, University of Ottawa (Canada), 2001. http://hdl.handle.net/10393/20986.

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Stankiewicz, Mariese Ribas. "Tradition and dialogic interactions between William Butler Yeats's poetry andf irish pop music." Florianópolis, SC, 2005. http://repositorio.ufsc.br/handle/123456789/101813.

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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-graduação em Letras/Inglês e Literatura Correspondente
Made available in DSpace on 2013-07-15T23:16:30Z (GMT). No. of bitstreams: 1 214313.pdf: 578066 bytes, checksum: 7bcccd7388db44692884396bc087294b (MD5)

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Goodson, Paul Richard. "The significance of music in the life and religious poetry of Christopher Smart." Thesis, University of Edinburgh, 1985. http://hdl.handle.net/1842/19805.

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Chung, Fiona, and 鍾雅妍. "Reflections on the relations between note and word: original compositions in music and poetry." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29793622.

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Dumigan, Darryl Jacqueline. "Nicola Porpora's operas for the 'opera of the nobility' : the poetry and the music." Thesis, University of Huddersfield, 2014. http://eprints.hud.ac.uk/id/eprint/24693/.

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Studies of Italian opera in London during the first half of the eighteenth century have focussed on George Frideric Handel (1685-1759). As the most prolific composer of this genre in the English capital, this is unsurprising, but it has meant that other composers, contemporaneously active in this field, have been relatively neglected. This is especially true of the period 1733 – 1737, during which time two Italian opera companies attempted to co-exist in the city. Leading one of the companies was Handel, with the Neapolitan, Nicola Porpora (1686-1768), recruited to compose the works for the rival opera company, the so-called ‘Opera of the Nobility’. This study therefore discusses Porpora’s contribution of five operas to the London operatic stage during his three year residency between 1733 and 1736, in opposition to Handel’s company. This has required an investigation into the circumstances surrounding the formation of the rival opera company, its operation in terms of repertoire and the influence of its librettists on Porpora’s works. Detailed analysis of the music has been undertaken to consider Porpora’s style, establish how he adapted this in London for an English, rather than Italian audience, and determine the efficacy of his communication of the drama through his music. This thesis is the first large-scale detailed study of Porpora and his operas. Although the primary focus of this work is his London operas, the necessity of providing a context for these has resulted in a contribution to greater knowledge of Porpora’s overall style. There is still much work to be done on a full study of all of Porpora’s 44 operas and other compositions. This study also significantly adds to the current knowledge of operatic rivalry in London between 1733 and 1736, for the first time evaluating the fabric and importance of Porpora’s operas within this period.

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Collins, Andrew S. "Poetic Structural Devices as a Consideration When Analyzing and Interpreting Choral Scores." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1299005782.

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Bretz, Katherine Hazel-Louise. "Reviving the Nibelungenlied: A Study and Exploration of the Relationship between Medieval Literature and Music." Kent State University Honors College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1399300392.

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Stobart, Henry F. "Sounding the seasons : music ideologies and the poetics of production in an Andean hamlet (northern Potosi, Bolivia)." Thesis, University of Cambridge, 1995. https://www.repository.cam.ac.uk/handle/1810/273028.

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Asquith, Mark Simeon. "The 'Sad Music of Humanity' : metaphysics and musical aesthetics in the novels of Thomas Hardy." Thesis, King's College London (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369131.

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Leontis, Evangelia Sophia. "A discussion of Jennifer Higdon's setting of the poetry of Amy Lowell in the chamber work "Love Sweet"." Thesis, The University of North Carolina at Greensboro, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10263740.

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This document provides biographical information for Higdon and Lowell as well as a discussion of Higdon’s compositional style. It also includes a performance analysis of Higdon’s musical setting of Lowell’s poetry in the chamber work Love Sweet. Information is drawn from published materials, an interview with the composer, and an analysis of the score.

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Aiello, Traoré Flavia. "Continuitiy and change in Zanzibari Taarab performance and poetry." Swahili Forum 11 (2004) S. 75-81, 2004. https://ul.qucosa.de/id/qucosa%3A11490.

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Taarab in contemporary Zanzibar currently experiences great changes since the Nineties with the emerging and growing success of modern taarab. This has shocked the fans of the traditional style (taarab asilia) with musical and instrumental innovations, including powerful amplifiers and more danceable rhythms, but also textual innovations, using in their songs, commonly called mipasho, a sort of language and poetical imagery very open and non-disguised (Khamis 2002: 200). The perception of a split between the two musical and poetical styles is widely shared among the artists and fans of traditional taarab, but it actually tends to simplify the dynamics of continuity and change of this art deeply rooted within the social and political life of Zanzibar islands.

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Beard, Ellen Leslie. "Rob Donn MacKay : finding the music in the songs." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/20991.

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This thesis explores the musical world and the song compositions of eighteenth-century Sutherland Gaelic bard Rob Donn MacKay (1714-1778). The principal focus is musical rather than literary, aimed at developing an analytical model to reconstruct how a non-literate Gaelic song-maker chose and composed the music for his songs. In that regard, the thesis breaks new ground in at least two ways: as the first full-length study of the musical work of Rob Donn, and as the first full-length musical study of any eighteenth-century Scottish Gaelic poet. Among other things, it demonstrates that a critical assessment of Rob Donn merely as a “poet” seriously underestimates his achievement in combining words and music to create a whole that is greater than the sum of its parts. The study also illustrates how widely melodic material circulated in eighteenth-century Scotland through aural transmission, easily crossing between languages and between instrumental and vocal music. The thesis includes a musical biography, a review of sources and commentary on Rob Donn, an introduction to relevant theoretical concepts in ethnomusicology and related fields, and a survey of eighteenth-century Scottish music, followed by several chapters analyzing the music of one hundred songs by topic (elegies; social and political commentary; love, courtship and weddings; satire and humor; and praise, nature and sea songs). The study shows that Rob Donn borrowed tunes for 67 of these songs from earlier sources (45% from Gaelic song, 25% from Scots song, 12% from English or Irish song, and 18% from instrumental tunes). It then provides evidence that he composed the melodies of 33 songs, examining in detail how he adapted earlier musical models and created musical settings to reinforce aspects of his poetic message. It also analyzes the musical features of all 100 songs, providing charts summarizing their vocal range, musical meter, scales and tonality. The thesis is accompanied by two appendices, one containing 121 musical settings of the 100 songs, and the other containing their complete texts with English translations (most translated here for the first time).

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Underriner, Chaz 1987. "The Sound-Poetry of the Instability of Reality: Mimesis and the Reality Effect in Music, Literature, and Visual Art." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849623/.

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This paper uses the concept of mimesis to clarify the debate concerning the representation of reality in music. Specifically, this study defines the audio reality effect and the three main practices of realism as a way of understanding mimetic practices in multiple artistic media, in particular regarding the multimedia works of the "Landscape series." After addressing the historical debates concerning mimesis, this study develops a framework for the understanding of mimesis in sound by addressing the writings of Weiss, Baudrillard, Barthes, Deleuze, and Prendergast and by examining mimetic practices in 19th-century European painting and multimedia performance works. The audio reality effect is proposed as a meaningful translation of Roland Barthes' literary reality effect to the sonic realm. The main trends of realist practice are applied to electroacoustic music and soundscape composition using the works and writings of Emmerson, Truax, Wishart, Risset, Riddell, Smalley, Murray Schafer, Fischman, Young, and Field. Lastly, this study mimetically analyzes "2 seconds / b minor / wave" by Michael Pisaro and Taku Sugimoto and the works of the "Landscape series" in order to demonstrate the relevance of mimesis for understanding current musical practice.

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Romer, S. C. M. "T.S. Eliot : post-symbolist." Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.355282.

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Salyers, Bethany Lyn. "The Phrygian Sonnet: The Effects of Using Music to Teach a Seventh Grade Poetry Unit." NCSU, 2003. http://www.lib.ncsu.edu/theses/available/etd-03272003-002314/.

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The purpose of this study was to understand what occurred when music was infused into a seventh grade poetry unit. Music was used as a co-text in this study, meaning that it was given equal time, energy, and respect as the poetry used in the unit. The unit was nineteen days long, during which, students learned about narrative, free verse, and lyrical poetry. The students also learned about author's intent, language use, mood, metaphor, interpretation, and the role of the audience. During this unit, the students completed two projects that allowed for students to choose to work with either poetry or lyrics. While the use of music caused no significant growth in content knowledge, there was no negative learning effect either. Students found the unit to be engaging and appreciated the amount of choice given to them. Teacher observations, along with student statements, conclude that the use of music raised interest levels in the poetry unit and made the unit fun. The students also noted that a variety of lesson structure played a positive role in the overall effectiveness of the unit. The issues that were raised in the implementation of this study pertain to the allowance of explicit lyrics, time constraints, and managing the duel roles as both teacher and researcher. Finally, the teacher gained new insights into her teaching and came up with several recommendations for future implementation.

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Sherman, Philip. "Where words leave off, music begins : A comparison of how Henry Purcell and Franz Schubert convey text through their music in the compositions Music for a while and Erlkönig." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2342.

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”The singer is always working through a text that in some way or another inspired the vocal line and its texture,” wrote American pianist, pedagogue, and author Thomas Grubb. But exactly how does a text inspire a composer to create this synergy between words and music? During the course of my studies at the Royal College of Music in Stockholm, I gradually began to deepen my knowledge and awareness of Henry Purcell and Franz Schubert. I was at once astounded by their ability to seemlessly amalgamate the chosen texts to their music, and decided that this connection required greater research. The purpose of this study was thus to gain a deeper understanding of how Purcell and Schubert approached the relationship between text and music by studying the two pieces Music for a while and Erlkönig. I also wished to discover any similarities and differences between the composers’ approaches to word painting, in addition to discerning the role of the accompaniment to further illustrate the narrative. I began by reading literature about the two composers as well as John Dryden and Johann Wolfgang von Goethe, the poets whose texts were set to music. Once a greater understanding of them had been attained, I proceeded to analyze the texts and music for a greater comprehension of Purcell’s and Schubert’s methods. For early inspiration, I listened to numerous versions of the pieces by different musicians on YouTube. Both Purcell and Schubert used various tools in their compositional arsenals to accomplish their effortless combination of text and music. Amongst others, Purcell employed tonal ambiguity, unexpected harmonies, and repetition, while Schubert made use of vivid imagery, inventive treatment of chromaticism, and unmistakable rhythmic motifs. The analysis demonstrated that, while both composers painted lively and dramatic pictures in their compositions, their methods were strikingly different. The role of the accompaniment in Music for a while leaves much to the individual taste and ability of the instrumentalist(s) performing to assist the singer in setting the scene. In contrast, Schubert instructs the pianist in Erlkönig explicitly how they are to play, while additionally the piano personifies the fifth character in the story, the horse. Indeed, the role of the singer in the two pieces is equally at variance with the other. With Purcell, the singer portrays a priest, while the singer in Erlkönig personifies four different voices, each with their own melody, character, and tessitura. I hope this study will inspire others to delve deeper into the material with which they work to offer a more profound understanding to themselves and, ultimately, the listener.

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Kohli, Amor. "The demands of a new idiom : music, language, and participation in the work of Amiri Baraka, Kamau Brathwaite, and Linton Kwesi Johnson /." Thesis, Connect to Dissertations & Theses @ Tufts University, 2005.

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Thesis (Ph.D.)--Tufts University, 2005.
Adviser: Modhumita Roy. Submitted to the Dept. of English. Includes bibliographical references. Access restricted to members of the Tufts University community. Also available via the World Wide Web;

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Dissertations / Theses on the topic 'Poetry; Music'

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