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Journal articles on the topic 'Poetry; Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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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.

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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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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.

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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?

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.).

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8

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

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9

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

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10

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

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11

Masserman, Jules H. "Poetry as music." Arts in Psychotherapy 13, no. 1 (March 1986): 61–67. http://dx.doi.org/10.1016/0197-4556(86)90009-2.

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12

Zarrin, Assist Prof Baqer Qorbani. "The music of Arabic poetry and moving beyond the prosodic measures." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 217, no. 1 (November 9, 2018): 1–18. http://dx.doi.org/10.36473/ujhss.v217i1.551.

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The music of poetry is one of the most prominent particularities which distinguishes the poetry from other types of speech. It also has been considered under different titles, by many literaties, just because the poetry would always need the music. A question would arise in here: is it possible to restrict the music of Arabic poetry only to prosodic rhythms and limit it to prosody, or could the poet just compose a poetry beyond the prosodic measures while still has its own music? This article tries to answer this question through inspecting some instances of poets works. These instances include: elegy or qasida_ muwashshah - zajal-band and blank verse. We can find the fact that the musical diversity can be achieved both inside and outside of the prosodic circles. It is also possible to synthesize prosodic meters with each other in an elegy to reach the purpose and experience novel meters called new-found meters. As the result of these experiences we can rely on the music of Taf’ilah (the formative basis of a verse) and by transforming the music of the poetry enrich the poetry songs. We shall notice this musical transformation in Arabic poetry which has passed through many changes from past times up to now. This is an important and necessary matter for any researcher who deals with any aspects of the poetry research and poetic cases.

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13

Eidan Al-Ta'an, Muslim Abbas. "Musicality as an Aesthetic Process of Filtering in Thomas W. Shapcott's Poetry." Advances in Language and Literary Studies 8, no. 5 (November 2, 2017): 18. http://dx.doi.org/10.7575/aiac.alls.v.8n.5p.18.

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How does music transcend individual experience? Is music the filter to purify everything? How does everything in the poet become music? Such questions are raised, now and then, by the conscious reader of poetry in general and that of the Australian poet Thomas W. Shapcott in particular. My present research-paper attempts to present an answer for these questions via probing the individuality of Shapcott's poetic experience and how does the poet's personal and experimental musicality as an artistic motif and aesthetic perspective play a key role in purifying language of its lies and its daily impurities. In the first place, my account is apt to find an aesthetic meaning for the action of transcending the individual experience in selected poems written by Shapcott. The philosophical and ritual thought of musicality is interplayed with the aesthetic power of poetry. Both aesthetic energies stem from the individual experience of the poet to transcend the borders of individuality and being absorbed and saturated in the wide pot of human universality. In other words, the poem after being filtered and purified musically and aesthetically is no longer an individual experience owned by its producer only, rather it becomes a human experience for its conscious readers. Music as a motif and meaning, regardless of its technical significance, is controversial in Shapcott's poetic diction. Music, here, is not a mere artistic genre; rather it is a ritualistic and philosophical thought. The paper is to investigate how Shapcott's musicality is constructed on aesthetics of balance and conformity in poetry and life.

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14

Abdullah, Ahmed Mahmood, and Hawshen Slewa Eessa. "Elements of Short Poems by (Mudrik Zhali)." Journal of University of Raparin 8, no. 2 (June 7, 2021): 1–23. http://dx.doi.org/10.26750/vol(8).no(2).paper.1.

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This research is entitled: ( Elements of Short Poems by (Mudrik Zhali)) .It consists of third sections, which are an attempt to define and use the content, form and Elements value of poetry. It has several concepts in contemporary Kurdish poetry, especially among contemporary poets in the last century in (Koya) city. This present research has scientific significance and value in the field of regeneration and highlighting the poet's ability and talent in this field. For this research, we used an analytical and descriptive method. It consists of third topics: The first topic: Experience of the poet (Mudrik Zhali).. The concept of haiku. The second topic: Elements language, poetic music, poetic image, and symbols in poet’s poetry. The third topic: Reading poetry of (The Eves of the Memories of the Impossible Love).With abstracts of the research in Arabic and English and a list of references.

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15

Hyunree Cho. "Music Analysis as Poetry." Perspectives of New Music 53, no. 1 (2015): 143. http://dx.doi.org/10.7757/persnewmusi.53.1.0143.

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Hyunree Cho. "Music Analysis as Poetry." Perspectives of New Music 53, no. 1 (2015): 143–87. http://dx.doi.org/10.1353/pnm.2015.0007.

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17

Castor, Laura. "“Making Songs of the Marrow”: Joy Harjo’s Music and Traditional Knowledge." American Studies in Scandinavia 44, no. 2 (September 1, 2012): 51–73. http://dx.doi.org/10.22439/asca.v44i2.4916.

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Joy Harjo is a multi-media artist of Mvskoke background whose poetry, song, and instrumentals break with conventional boundaries of form. For Harjo, melding poetry and music allows her to contribute to processes of psychological healing from collective trauma, a reality in Native American experience since European contact. Her song “Equinox” provides a rich opportunity for exploring the various levels at which she interweaves allusions to contested historical events and traditional knowledge with poetic imagery. In “Equinox,” Harjo’s combined poetry and music encourage larger processes of cultural healing that, at the same time, reinforce the need for continued advocacy.

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18

Iskhakova, Saida Z. "Eastern and Western Influences in the Cantus Publicus Tradition of the 12th and 13th Centuries." Observatory of Culture, no. 5 (October 28, 2014): 66–72. http://dx.doi.org/10.25281/2072-3156-2014-0-5-66-72.

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Considers the impact of MuslimArab culture (via Andalusia) on the one hand and of the Church poetry and music on the other on the troubadours’ art. The author argues that though troubadours’ love poetry was quite alike Arabic lyrics, the formal structure of the songs created in the South of France was directly related to the Church Latin poetry and music of the second half of the 11th century. However, the ambiguity about the issue is rooted in the poetic Arab influence on these Church “songs” that spread during the 9th and the 10th centuries.

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19

Favaro, Alice. "Desiertos de amor (2018) by Raúl Zurita: between poetry, image and voice." Caracol, no. 21 (June 25, 2021): 272–92. http://dx.doi.org/10.11606/issn.2317-9651.i21p272-292.

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After a brief contextualization of the author's biography, I present the volume Desierto de amor (2018) by Raúl Zurita, realized with González y Los Asistentes (music) and Massimo Giacon (comic), as a significant example of a hybrid literary product that mixes poems, music and comics. The transmedial and trimodal work uses different media that merge each other. The poem, a migrant text halfway between slam poetry and poetry in music, alternates and superimposes itself on music and poetry comix. Reflecting on the potentialities of transmediality and intersemiotic translation, I analyze how transcoding into other languages brings added value to the poetic text because it creates an intertextual dialogue that produces a new reception mechanism. The visual and auditory reading takes place in a different space and time, with new expressive modalities and ways of reaching the addressee.

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20

Novák, Radomil. "Contrapuntal text and rondo (in the poetry of Desmond Egan and Jaroslav Seifert)." Acta Universitatis Lodziensis. Folia Litteraria Polonica 52, no. 1 (March 28, 2019): 345–58. http://dx.doi.org/10.18778/1505-9057.52.20.

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This paper is concerned with the complicated relationships between poetry and music. It tries to show that one of the common denominators between both arts can be the musical form in poetry, strictly speaking a method of poetry creation based on a musical principle. For this paper, two illustrations of this process are chosen: an Irish poet Desmond Egan’s contrapuntal poems (chosen from all Egan’s poetry) and a Czech poet Jaroslav Seifert’s Mozart in Prague. The conclusions concern the impact on the reader’s reception of poetic texts, which in their graphic form or theme stimulate references to music. We conclude that knowing (active and passive) the musical principles of counterpoint and ronda can help readers to better understand the structure, theme and meaning of the texts.

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21

Gigliucci, Roberto. "Music and Poetry: a Call for Interpretation." Humanitas 66 (December 10, 2014): 407–19. http://dx.doi.org/10.14195/2183-1718_66_21.

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This essay concerns the relationship between Music and Poetry, to arrive to a personal conception of the artwork as an interpretative object. The musico-literature matter is a complex starting point to build an idea according to which the pleasure of understanding is the final purpose of the arts; aim of art is the position of a meaning, but in a realm of ambivalence-ambiguity, or better complexity: the two main examples – very distant but both basic – of Euripides and Mozart constitute the hearth of this contribute.http://dx.doi.org/10.14195/2183-1718_66_21

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22

Batubara, Junita. "DESTINASI: Kolaborasi Kreatif Musik Digital, Puisi dan Tari." Resital: Jurnal Seni Pertunjukan 22, no. 1 (September 23, 2021): 1–11. http://dx.doi.org/10.24821/resital.v22i1.5866.

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This research discusses the implementation of a music score into a collaboration of digital music, dance and poetry. The integration of the three arts is done by symbolizing human life from birth to adulthood. The researcher, as the creator of this Destination composition, intends to add to his repertoire by combining three different arts, namely, digital music, dance and poetry. This compositional work was created using qualitative, practice-based, practice-led and ethnographic methods. The process of making this work is by analyzing music score data taken from the results of field exploration and in combination with poetry and dance script data and then processed into the laboratory desk. The result is the creation of collaborative digital music, dance and poetry, based on the culture of human life and the author's background and life experiences. The work reflects the symbols of human life which are revealed in the poem entitled Directions of Life. Initially, Destination's composition work was a composite work created using cross-cultural (combination) elements of Western music, and Malay music (gendang Malay). Furthermore, the work is processed into a collaboration that is carried out with a combination of motion, emotion, voice intonation and digital music. The result of the collaboration of Destination's compositions is to produce a performance that combines three different arts where music is the main focus in bringing out ideas and concepts of body movement and voice intonation from dancers and poetry readers. The ability to relate ideas or ideas to a musical concept, producing a new work with the collaboration of three different arts which can be used by musicians, practitioners, and educators in Indonesia. Penelitian ini mendiskusikan implementasi sebuah skor musik menjadi kolaborasi musik digital,seni tari dan puisi. Penggabungan ketiga seni tersebut dilakukan dengan cara symbol kehidupan manusia dari mulai lahir hingga dewasa. Peneliti sebagai pencipta karya komposisi destinatioan ini bermaksud untuk menambah repertoar dengan menggunakan penggabungan tiga seni yang berbeda yaitu, musik digital, tari dan puisi. Karya komposisi ini diciptakan dengan menggunakan metode kualitatif, practice-based, practice-led dan ethnographic. Proses pembuatan karya tersebut dengan melakukan analisa data skor musik yang diambil dari hasil eksplorasi lapangan dan kombinasi dengan data script puisi dan tari kemudian diolah ke dalam desk laboratory. Hasilnya adalah terciptanya kolaborasi karya seni musik digital, tari dan puisi, berdasarkan budaya kehidupan manusia dan latar belakang penulis dan pengalaman kehidupan penulis. Di dalam karya tersebut mencerminkan symbol-symbol kehidupan manusia yang terungkap dalam puisi yang berjudul Arah Kehidupan. Awalnya Karya komposisi Destination merupakan karya penggabungan yang diciptakan menggunakan silang budaya (kombinasi) elemen-elemen musik Barat, dan musik melayu (gendang melayu). Selanjutnya karya tersebut diolah menjadi sebuah kolaborasi yang dilakukan dengan perpaduan gerak, emosi, intonasi suara dan musik digital. Hasil dari kolaborasi karya komposisi Destination adalah menghasilkan sebuah pertunjukan perpaduan tiga ilmu seni yang berbeda dimana musik sebagai fokus utama dalam memunculkan ide-ide dan konsep gerakan tubuh dan intonasi suara dari penari dan pembaca puisi. Kemampuan untuk mengaitkan idea atau gagasan terhadap sebuah konsep musik, menghasilkan sebuah karya baru dengan kolaborasi tiga seni yang berbeda dimana bisa digunakan oleh musisi, praktisi, dan edukator di Indonesia.

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23

Hatten, Robert S. "A Surfeit of Musics: What Goethe's Lyrics Concede When Set to Schubert's Music." Nineteenth-Century Music Review 5, no. 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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24

Brandolini (book author), Raffaele, Ann E. Moyer (book translator and introducer), Marc Laureys (assistant book translator and introducer), and Edward S. Moore (review author). "On Music and Poetry (De musica et poetica, 1513)." Renaissance and Reformation 37, no. 3 (January 1, 2001): 78–79. http://dx.doi.org/10.33137/rr.v37i3.8722.

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25

Maw, D. "On Music and Poetry (De musica et poetica 1513)." Notes and Queries 50, no. 1 (March 1, 2003): 103–4. http://dx.doi.org/10.1093/nq/50.1.103.

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26

Maw, David. "On Music and Poetry (De musica et poetica 1513)." Notes and Queries 50, no. 1 (March 1, 2003): 103–4. http://dx.doi.org/10.1093/nq/500103.

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27

Antine, Sarah, and Terry Hauptman. "Poetry: Music, Patience and Form." Bridges 16, no. 1 (April 2011): 77–85. http://dx.doi.org/10.2979/bridges.16.1.77.

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Despić, Dejan. "My vocal mosaics." New Sound, no. 50-2 (2017): 229–35. http://dx.doi.org/10.5937/newso1750229d.

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This text features the status and importance of poetry in the output and opuses by Dejan Despić, based on the composer's view that "poetry is, in fact, merely unsounded music, that is to say, that music is, in fact, merely unspoken poetry". Transposing poetry into vocal shapes and achieving a specific mosaic-type dramaturgy will be explained in the example of turning miniature texts into music - Ozon zavičaja [The Ozone of the Homeland], op. 105 (a cycle created to the verses of Desanka Maksimović) and Krug [The Circle], op. 61 (composed of the verses of authentic Japanese poetry).

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29

Mathews, T. "Art as Music, Music as Poetry, Poetry as Art: From Whistler to Stravinsky and Beyond." French Studies 68, no. 2 (April 1, 2014): 283–84. http://dx.doi.org/10.1093/fs/knu064.

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30

Williams, C. K. "The Music of Poetry and the Music of Mind." Literary Imagination 7, no. 1 (January 1, 2005): 19–29. http://dx.doi.org/10.1093/litimag/7.1.19.

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31

Schwartz, Delmore. "Poetry as Imitation." Perspectives of New Music 24, no. 1 (1985): 102. http://dx.doi.org/10.2307/832761.

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32

Mermigki, Dimitra. "Οι διαλεκτικές όψεις της ποιητικής." Epistēmēs Metron Logos, no. 3 (January 11, 2020): 93. http://dx.doi.org/10.12681/eml.22109.

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This text is dedicated to the Emeritus Professor of Analytical Philosophy and Poet, Aristophanes (Αris) Koutougos. From his prolific poetry (published, or under publication), emerges a dialectic of a characteristic poetic idiom, his own "Aristophanean-poetry". Its main element is the delimitation of the poetic shape in the breadth of the surface of artistic creation within philosophical depth in general. Ηis poetic discourse super-vises time reflections on the structural rivalries of its declarative propositions which, eventually, reshape the complexity and purify the uncontrolled outbursts or "sharp remainders" of the dramatized (comic-tragic) event. A.K. approaches poetry and philosophy by opening a new discussion about the idea of an aesthetic dialectic with painting, music and song, mostly in natural everyday language as philosophically influenced.

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Opiela-Mrozik, Anna. "Mallarmé, Valéry et le silence (dés)incarné." Quêtes littéraires, no. 7 (December 30, 2017): 82–92. http://dx.doi.org/10.31743/ql.160.

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This article analyses the essence and roles of silence in the œuvres of Mallarmé and Valéry. The Mallarmé’s musicality gradually gives way to the silent music of words; poetry is becoming spatial and takes the form of the music score. In the poem Coup de dés it gets up to the incarnation of silence which shows the ideal of the Mallarmé’s musicality; the ideal in which an eye serves to listen. The theme of music and silence reappears in the Valery’s œuvre. In spite of the connection between music and architecture, which can incarnate silence, poetry uses the subjectivism of music and the ambiguity of silence to achieve the ideal of pure art which is hidden in the artist’s interior. Silence as nothingness is the starting point for poetry whereas non-incarnated silence can express the mystical sense of poetry.

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Lewis, Simon. "“Tear Down These Prison Walls!” Verses of Defiance in the Belarusian Revolution." Slavic Review 80, no. 1 (2021): 15–26. http://dx.doi.org/10.1017/slr.2021.24.

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This contribution examines the creative energy behind the ongoing protests in Belarus, with a focus on poetry and music. Belarus is traditionally a “versocentric” society, where poetry and music have historically played important roles in consolidating national culture. In the 2020 protest movement, fast and widespread distribution through social media has made poetry and music a crucial instrument for cementing a sense of collective identity among protestors, establishing transnational solidarity, and affecting the emotional regime of Belarusian society.

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Righelato, Pat, and David Bromwich. "Skeptical Music: Essays on Modern Poetry." Modern Language Review 98, no. 4 (October 2003): 976. http://dx.doi.org/10.2307/3737960.

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Monson, Craig, and Winifred Maynard. "Elizabethan Lyric Poetry and Its Music." Shakespeare Quarterly 39, no. 3 (1988): 386. http://dx.doi.org/10.2307/2870944.

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Thomson, Patricia, and Winifred Maynard. "Elizabethan Lyric Poetry and Its Music." Modern Language Review 84, no. 1 (January 1989): 117. http://dx.doi.org/10.2307/3731958.

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de Freitas Mourão, Ronaldo Rogério. "Astronomy in Brazilian music and poetry." Proceedings of the International Astronomical Union 5, S260 (January 2009): 368–74. http://dx.doi.org/10.1017/s1743921311002547.

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AbstractThe rôle of astronomy in the Brazilian cultural diversity –though little known world– has been enormous. Thus, the different forms of popular music and erudite, find musical compositions and lyrics inspired by the stars, the eclipses in rare phenomena such as the transit of Venus in front of the sun in 1882, the appearance of Halley's Comet in 1910, in the Big Bang theory. Even in the carnival parades of the blocks at the beginning of the century astronomy was present. More recently, the parade of 1997, the samba school Unidos do Viradouro, under the direction of Joãozinho Trinta, offered a new picture of the first moments of the creation of the universe to join in the white and dark in the components of their school, the idea of matter and anti-matter that reigned in the early moments of the creation of the universe in an explosion of joy. Examples in classical music include Dawn of Carlos Gomes and Carta Celeste by Almeida Prado. Unlike The Planets by Gustav Holst –who between 1914 and 1916 composed a symphonical tribute to the solar system based on astrology– Almeida Prado composed a symphony that is not limited to the world of planets, penetrating the deep cosmos of galaxies. Using various resources of the technique for the piano on the clusters and static movements, violent conflicts between the records of super acute and serious instrument, harpejos cross, etc . . .

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RODGERS, STEPHEN. "Song and the Music of Poetry." Music Analysis 36, no. 3 (July 10, 2017): 315–49. http://dx.doi.org/10.1111/musa.12091.

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Berger Cardany, Audrey. "From Poetry to Music: Northern Lullaby." General Music Today 24, no. 2 (December 7, 2010): 37–41. http://dx.doi.org/10.1177/1048371310385211.

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O'Hara, Daniel T. "Skeptical Music: Essays on Modern Poetry." Journal of Modern Literature 26, no. 3 (2003): 159–60. http://dx.doi.org/10.1353/jml.2004.0042.

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Swiss, Thomas. "Representing rock: Poetry and popular music." Popular Music and Society 18, no. 2 (June 1994): 1–12. http://dx.doi.org/10.1080/03007769408591550.

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Galimullina, Alfiya Foatovna, and Ruslan Zinatullovich Khairullin. "MUSIC CODES IN MODERN RUSSIAN POETRY." Philology and Culture 62, no. 4 (2020): 89–95. http://dx.doi.org/10.26907/2074-0239-2020-62-4-89-95.

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Joshi, Manisha. "POETRY – A NATURAL SYMPHONY OF MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3392.

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Music in its essence dispenses with words completely, and tunes, help in imparting its true and deep feelings. An artist’s vision gains his expression through sound – which is his medium of expression. Then there is pitch, tone, its rise and fall which are some of the other important elements that a musician successfully uses to create the magic. But when we try to compare literature with music we have to say that literature, particularly in its poetic form, is certainly endowed with not only tonic quality of its own but has signification of words as well.

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Finn, Geraldine. "Setting music to poetry and prose." New Sound, no. 48-2 (2016): 42–52. http://dx.doi.org/10.5937/newso1648042f.

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도윤정. "A New Relationship between Poetry and Music - music as Creative Principle of Poetry in Mallarmé's World." Cross-Cultural Studies 44, no. ll (September 2016): 211–37. http://dx.doi.org/10.21049/ccs.2016.44..211.

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Randel, Don Michael. "Congruence between Poetry and Music in Schumann's Dichterliebe." 19th-Century Music 38, no. 1 (2014): 30–52. http://dx.doi.org/10.1525/ncm.2014.38.1.030.

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Abstract Poetry and music have in common various ways of structuring sound. In both, one can speak of rhythm, meter, loudness (e.g., accent), and pitch. Beyond sound in the narrow sense, one can also speak of syntax in that both language and Western tonal music create expectations that are satisfied or not in a variety of ways. These material aspects of poetry and music can be the basis for exploring how poetry and music fit together in vocal music in general and in individual works. The study of poetry in these terms came to prominence in the work of Roman Jakobson and others beginning in 1960 and has more recently been taken up by Marjorie Perloff and colleagues. The study of music with words has in general not considered the materiality that they share, especially not in the analysis of individual works. Writers on music have generally placed emphasis on expression of the semantic content of texts instead, privileging texts that can be read in relation to Romantic lyric theory. This has led to the search for word painting of one kind or another that has shaped the understanding of whole periods in the history of music and that is very much with us still, though this semantic domain cannot ultimately be separated from the material aspect of language. This article analyzes Songs 1, 2, 4, and 6 of Schumann's Dichterliebe in terms of this materiality with a view to showing how closely congruent poetry and music can be in their own terms in individual works without dwelling first on what they might be thought to express. This is to speak not at first about meaning but rather about the means by which meaning is created. Analysis of this kind in no way precludes hermeneutics. It is but one starting point and one that bears directly on the act of listening and perhaps performance.

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Gamurari, Pavel. "„Noduri şi semne” – o abordare conceptuală a poeziei stănesciene în creația compozitorului Petru Stoianov." Revistă de Ştiinţe Socio-Umane = Journal of Social and Human Sciences 46, no. 3 (2020): 56–63. http://dx.doi.org/10.46727/jshs.2020.v46.i3.p56-63.

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This article analyzes the notable influence of Nichita Stănescu on contemporary Romanian music, and his poetry inspired a whole generation of composers from the second half of the twentieth century, who were constantly attracted by his poetic universe, signing works that it fits in various stylistic orientations, for different interpretive components, of different genres, which can be delimited in a distinct “group” within the Romanian composition. Petru Stoianov is one of the composers who addressed Stanescu's poetry countless times.

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Hadjimichael, Theodora A. "Aristophanes’ Bacchylides: Reading Birds 1373–1409." Greek and Roman Musical Studies 2, no. 1 (January 28, 2014): 184–210. http://dx.doi.org/10.1163/22129758-12341258.

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AbstractThe significance of Aristophanes in the history of ancient literary criticism cannot be doubted. Equally undoubted is also the dismissive attitude that he appears to have towards the musical and poetic innovations of the late-fifth century BC. This position of his becomes essential when one considers the manner in which he treats the appraised canonical lyric poets and the contemned representatives of the New Dithyramb. This paper is concerned with the reading specifically of Bacchylides in Aristophanes. It argues in favour of the use of Bacchylides’ Ode 5 to Hieron inBirds1373-1409 as well as for the poem’s reconfiguration by Kinesias within the context of the New Music. In the process it will allow us to comment on a number of poetic characteristics of Bacchylides’ poetry and also to draw conclusions on Bacchylides’ status within the melic tradition as the poet in-between classical lyric poetry and the New Music.

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Lourie, Dick. "Poetry and the Blues." Journal of Popular Music Studies 13, no. 1 (March 2001): 111–15. http://dx.doi.org/10.1111/j.1533-1598.2001.tb00018.x.

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