Relevant bibliographies by topics / Poetry Musical settings

Academic literature on the topic 'Poetry Musical settings'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Poetry Musical settings"

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Winn, Matthew B., and William J. Idsardi. "Musical evidence regarding trochaic inversion." Language and Literature: International Journal of Stylistics 17, no. 4 (November 2008): 335–49. http://dx.doi.org/10.1177/0963947008092501.

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This study investigates an unresolved issue in poetic metrics — the trochaic inversion — the apparent substitution of a trochaic foot in place of an iambic foot in an otherwise iambic line of verse. Various theories have been proposed to explain this metrical variation, including specific metrical units, groupings of beats and offbeats, and constrained definitions of metrical units via concepts such as stress maxima. By positing a structural comparison between the verse and music of set poetry, the current project attempts to evaluate theories of poetic metrics using a new empirical methodology. Specifically, musical settings of iambic poetry with trochaic inversion are examined. Our analysis shows that the musical settings predicted from various prevalent theories do not map neatly onto the actual musical settings, which suggests that they do not adequately describe the actual rhythmic effect of the trochaic inversion. The music instead suggests that we regard this metrical pattern not as a trochee in place of an iamb, but rather as a unary stressed foot followed by an anapest.
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Basart, Ann P., and Michael Hovland. "Musical Settings of American Poetry: A Bibliography." Notes 43, no. 2 (December 1986): 312. http://dx.doi.org/10.2307/897388.

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Ravenscroft, Brenda. "Metamorphoses: Elliott Carter’s Musical Settings of Stevens’s Poetry." Wallace Stevens Journal 43, no. 2 (2019): 234–38. http://dx.doi.org/10.1353/wsj.2019.0024.

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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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Ricciardi, Emiliano. "Torquato Tasso and Lighter Musical Genres: Canzonetta Settings of the Rime." Journal of Musicology 29, no. 4 (2012): 385–421. http://dx.doi.org/10.1525/jm.2012.29.4.385.

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Scholars of the madrigal have often emphasized Torquato Tasso’s role in the emergence of a serious musical manner that differed sharply from the widespread canzonetta style of the late sixteenth and early seventeenth centuries. This emphasis is grounded in Tasso’s endorsement of musical gravitas in the dialogue La Cavaletta from the mid-1580s, as well as in some settings of Gerusalemme liberata, the musical style of which matched the heroic tone of the poetry. Tasso, however, produced many poems that were suitable to lighter musical styles. In particular, he wrote several short strophic compositions of light tone, that is, canzonetta poems. Numerous composers set these as such or as canzonetta madrigals, the hybrid genre that became popular in the late sixteenth century. This poetic-musical repertoire counters Tasso’s and scholars’ emphasis on gravitas and prompts a reconsideration of his impact on music that takes into greater account his substantial contribution to lighter genres.
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Nixon, S. "The sources of musical settings of Thomas Carew's poetry." Review of English Studies 49, no. 196 (November 1, 1998): 424–60. http://dx.doi.org/10.1093/res/49.196.424.

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Bodley, Lorraine Byrne. "In Pursuit of a Single Flame? On Schubert’s Settings of Goethe’s Poems." Nineteenth-Century Music Review 13, no. 1 (April 4, 2016): 11–33. http://dx.doi.org/10.1017/s147940981500049x.

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Much musicological and historicist criticism has tended to ‘flatten’ Goethe by confining him to the thought-clichés of his time, and this in turn has led to an implicitly patronizing view of him as musically conservative. This article will show how Goethe proves again and again to be more musically intelligent and perceptive than scholars have given him credit for. Certain musicological questions engross the poet throughout his life: the nature of major and minor tonalities; musical identity throughout the ages; music and text; the rhetoric of attentive listening; musical language and its capacity to occlude and exclude. Yet Goethe’s thought, this article demonstrates, is anything but static; his writings keep returning to, modifying and complicating his musical preoccupations.This article challenges the salient misconception that Goethe’s lack of musical judgement divorced him from the development of the nineteenth-century Lied and that Schubert’s settings ran counter to the poet’s intent. Two new readings of ‘Wandrers Nachtlied’ and ‘Erster Verlust’ show how Schubert is listening to the poetry and the upshot is not a song that reflects the poem but one that reflects on it.
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Rolland, Nina. "When the poet becomes the muse." Journal of Romance Studies 21, no. 3 (December 1, 2021): 351–74. http://dx.doi.org/10.3828/jrs.2021.20.

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Women are ubiquitous in Charles Baudelaire’s poetry, presented either as ideal, unattainable figures, or as earthly, abominable creatures. Instead of examining the gaze of the poet on women, it is interesting to reverse the roles and to explore the gaze of women on Baudelaire, or more precisely what women hear in Baudelaire’s poetry: what happens when the poet becomes the muse? While the most famous musical settings of Baudelaire’s poems have been composed by men (Duparc, Fauré, Debussy), this article aims to uncover musical settings of Baudelaire’s poetry by twentieth-century female composers. In a first instance, this article offers an overview of twentieth-century songs by female composers; from the mélodies of Marie Jaëll to the contemporary settings of Camille Pépin, what do song settings of Baudelaire tell us about the visibility of female composers? Secondly, the article provides a detailed analysis of L’Albatros (1987), a music-theatre piece by Adrienne Clostre. By deconstructing Baudelaire’s poems, Clostre offers a reflection on creativity that cannot be separated from a general understanding of the place of female composers in society.
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Brown, A. Peter. "Musical Settings of Anne Hunter's Poetry: From National Song to Canzonetta." Journal of the American Musicological Society 47, no. 1 (April 1994): 39–89. http://dx.doi.org/10.1525/jams.1994.47.1.04x0083e.

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Brown, A. Peter. "Musical Settings of Anne Hunter's Poetry: From National Song to Canzonetta." Journal of the American Musicological Society 47, no. 1 (1994): 39–89. http://dx.doi.org/10.2307/3128836.

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

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Cowell, Emma Mildred. "Dialogues with the Past: Musical Settings of John Donne's Poetry." Youngstown State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1339692006.

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Trowles, Tony Albert. "The musical ode in Britain, c.1670-1800." Thesis, University of Oxford, 1992. https://ora.ox.ac.uk/objects/uuid:2c30162d-7b1d-45ba-9e3c-301129ecb38c.

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The musical ode, which developed during the 1660s and 1670s as a means of celebrating occasions of particular significance (often by setting a specially written text), remained popular throughout the eighteenth century, and can be regarded as the earliest form of large-scale secular choral music to have developed in England. This dissertation discusses the nature of the genre (including its relationship with the poetical ode), and surveys the contexts in which odes were composed and performed. It is supplemented by a catalogue which lists some 270 examples of the genre. Among the earliest odes were those written for performance at the court in London. These have already been the subject of musicological study, but although they were the biggest stylistic influence on the other odes written during the late seventeenth and early eighteenth centuries, they were not quite the earliest examples of the species. At the University of Oxford, the practice of performing specially composed odes to enhance academic ceremonial dates from at least 1669, and the custom continued throughout the following century. The odes on St Cecilia's Day also originate in the late seventeenth century, but although the works performed in London between 1683 and 1701 have received some scholarly attention, odes on the same theme written later in the century, along with works performed at a number of provincial centres, have not hitherto been discussed in the context of the wider ode genre. Also neglected have been the birthday odes performed at the Vice-regal court in Dublin during the eighteenth century. These complement the London court odes, but have not previously been listed or discussed in detail. Other odes were written for charitable causes, and to commemorate a miscellaneous array of occasions, including military victories and the inauguration of new buildings. In addition, in the latter half of the eighteenth century, some composers responded to developments in the poetical ode by setting libretti which had no 'occasional' inspiration, but which were notable literary achievements in their own right.
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Lewis, C. M. "Studies on Hebbel's poetry: with a collection of poems not in Werner's critical edition and a register of musical settings of Hebbel's poems." Thesis, Aberystwyth University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.565946.

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In a letter to Hebbel dated 29.12.1858 Fischer writes: "Ihre Poesien sind immer gleich Probleme [...] Sie nehmen und machen sich selbst die Poesie nicht leicht [...] und was Sie selbst schwer nehmen, wird und muss begreiflicherweise dem Leser noch schwieriger fallen." Criticism of Hebbel's poems has been largely negative. My intention is to adopt a critical approach which is not hampered by a rigid concept of what constitutes good poetry or other prejudices, and to open up new perspectives of Hebbel's poetry, by discussing different aspects of his verse. Standard criticisms of Hebbel's poetry are examined, and the reception of his poetry In the world of music, prior to the rediscovery of his works in general, is discussed. A register of the musical settings of Hebbel's verse documents the extent of his popularity as a poet amongst composers. Hebbel's aesthetics, which are inextricably linked with his perception of life, reveal his artistic aims and a personal vindication of his poetry. An analysis of Hebbel's poetic forms and strophic structures shows his indebtedness to tradition and his point of departure from it. Structural principles In Hebbel's poetry are examined. The arrangement of poems in pairs, an aspect which has not previously been examined, reveals how Hebbel overcomes the dissonance and dualism in the world within the poetic statement. The cyclical arrangement of poems often reflects Hebbel's attempt to perfect the poetic expression of fundamental, predominantly philosophical reflections. A collection of relatively unknown and inaccessible Hebbel poems is found in Appendix 1.
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Bierschenk, Jerome Michael. "An Analysis of Selected Choral Works by Kirke Mechem: Music-Textual Relationships in Settings of Poetry of Sara Teasdale." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20032/bierschenk%5Fjerome/index.htm.

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Kenaston, Karen S. "An Approach to the Critical Evaluation of Settings of the Poetry of Walt Whitman: Lowell Liebermann's Symphony No. 2." Thesis, Online resource, 2003. http://www.library.unt.edu/theses/open/20031/kenaston%5Fkaren/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2003.
Original copy accompanied by 3 recitals, recorded Apr. 27, 2000, Nov. 28, 2000, and Oct. 31, 2001; videocassette not dated. Lacking in UMI copy. Includes bibliographical references (p. 141-149).
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Schindler, Karl W. (Karl Wayne). "The War Poems: An Intermedia Composition for Chamber Orchestra and Chorus." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278847/.

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Expanding on the concept of Richard Wagner's Gesamptkunstwerk, The War Poems was written to combine various elements for an intermedia composition, including music, five slide projectors, lighting, and costume. Text used in the piece was taken from the writings of the English World War I poet Siegfried Sassoon.
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Cho, Soon Y. "The Interaction Between Poetic and Musical Caesurae in Six Settings of Elizabeth Barrett Browning's Sonnet XLIII." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1299168299.

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Seitz, Elizabeth A. "Die schöne Müllerin: in the context of early 19th century musical and poetic trends with an emphasis on its relation to the settings of Ludwig Berger." Thesis, Boston University, 1989. https://hdl.handle.net/2144/22550.

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Wood, Alison J. E. "The poetics of Libretti: reading the opera works of Gwen Harwood and Larry Sitsky." 2008. http://hdl.handle.net/2440/49219.

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Gwen Harwood is one of Australia’s most celebrated poets. Her longstanding collaboration with composer Larry Sitsky produced six substantial operas between 1963 and 1982; Fall of the House of Usher (1965); Lenz (1970); Fiery Tales (1975, based on Chaucer’s Canterbury Tales and excerpts from Boccaccio’s Decameron); Voices in Limbo (1977); The Golem (1980, first performed in 1993); and De Profundis (1982, a setting of Oscar Wilde’s letters). Both Harwood and her critics acknowledge the libretti as some of her best writing (Harwood cites her libretto for Lenz as her ‘selected poem’); to date, there has been no major study of these works. This thesis engages with Harwood’s opera texts, arguing for readings that are neither atomist nor reductive but jointly focused on both the effect of the text and the mechanics of its production. It begins by outlining the theoretical terrain of words and music studies and establishes an approach to Harwood and Sitsky’s operas based on the idea that opera’s textual exaggeration is a function of its multiple critical components; that is, the intersection of words and music, collaborative authorship, and dramatic language. The thesis then offers focused studies of each of these aspects in Harwood and Sitsky’s works, constructing a literary picture of the opera texts. Primary sources include the scores of the operas (usually copies of the composer’s autograph), selected correspondence between Sitsky and Harwood, drafts and typescripts of the libretti (held in the National Library, Canberra, and the Fryer Library, University of Queensland), and selected essays by Harwood on her words for music.
http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1331575
Thesis (M.A.) -- University of Adelaide, School of Humanities, 2008
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Wood, Alison J. E. "The poetics of Libretti: reading the opera works of Gwen Harwood and Larry Sitsky." Thesis, 2008. http://hdl.handle.net/2440/49219.

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Gwen Harwood is one of Australia’s most celebrated poets. Her longstanding collaboration with composer Larry Sitsky produced six substantial operas between 1963 and 1982; Fall of the House of Usher (1965); Lenz (1970); Fiery Tales (1975, based on Chaucer’s Canterbury Tales and excerpts from Boccaccio’s Decameron); Voices in Limbo (1977); The Golem (1980, first performed in 1993); and De Profundis (1982, a setting of Oscar Wilde’s letters). Both Harwood and her critics acknowledge the libretti as some of her best writing (Harwood cites her libretto for Lenz as her ‘selected poem’); to date, there has been no major study of these works. This thesis engages with Harwood’s opera texts, arguing for readings that are neither atomist nor reductive but jointly focused on both the effect of the text and the mechanics of its production. It begins by outlining the theoretical terrain of words and music studies and establishes an approach to Harwood and Sitsky’s operas based on the idea that opera’s textual exaggeration is a function of its multiple critical components; that is, the intersection of words and music, collaborative authorship, and dramatic language. The thesis then offers focused studies of each of these aspects in Harwood and Sitsky’s works, constructing a literary picture of the opera texts. Primary sources include the scores of the operas (usually copies of the composer’s autograph), selected correspondence between Sitsky and Harwood, drafts and typescripts of the libretti (held in the National Library, Canberra, and the Fryer Library, University of Queensland), and selected essays by Harwood on her words for music.
Thesis (M.A.) -- University of Adelaide, School of Humanities, 2008
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Books on the topic "Poetry Musical settings"

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Musical settings of American poetry: A bibliography. Westport, Conn: Greenwood Press, 1986.

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Music lessons: Poetry and musical form. Tarset, Nothumberland: Bloodaxe Books, 2011.

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

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

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Re-reading poetry: Schubert's multiple settings of Goethe. Woodbridge: Boydell Press, 2009.

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Rayapati, Sangeetha. Vocal settings of Rabindranath Tagore's Gitanjali (Song offerings): Fusing Western art song with Indian mystical poetry. Lewiston, N.Y: Edwin Mellen Press, 2010.

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1861-1941, Tagore Rabindranath, ed. Vocal settings of Rabindranath Tagore's Gitanjali (Song offerings): Fusing Western art song with Indian mystical poetry. Lewiston, N.Y: Edwin Mellen Press, 2010.

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Rozenfelʹd, B. M. Anna Akhmatova, Marina T︠S︡vetaeva, Osip Mandelʹshtam i Boris Pasternak v muzyke: Notografii︠a︡. Stanford: Dept. of Slavic Languages and Literatures, Stanford University, 2003.

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Kim, Kil Won. A detailed study of Reynaldo Hahn's settings of the poetry of Paul Verlaine. Norman, Oklahoma: Kim, 1996.

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Museum für Literatur am Oberrhein, ed. Etwas Neues entsteht im Ineinander: Wolfgang Rihm als Liedkomponist : die Gedichtvertonungen. Freiburg im Breisgau, Germany: Rombach Verlag, 2012.

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Book chapters on the topic "Poetry Musical settings"

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Michael, Christina. "Setting Greek Modernist Poetry to Greek Popular Music." In The Routledge Companion to Music and Modern Literature, 416–25. London: Routledge, 2022. http://dx.doi.org/10.4324/9780367237288-41.

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Kennedy, Kate. "Ivor Gurney: Embracing and Attacking A. E. Housman." In The Edinburgh Companion to Literature and Music, 609–15. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0063.

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Ivor Gurney, probably the only composer since Thomas Campion to be as gifted a poet as he was a musician, used, in his 1919 song cycle Ludlow and Teme, a complex and conflicted engagement with poems from A. E. Housman’s A Shropshire Lad to express his deeply ambivalent relationship to the war he had just survived. His settings in Ludlow and Teme are compared with Butterworth’s Housman settings, written in 1911 and 1912, and with Gurney’s own war poetry. While Gurney does harness Housman’s cultural associations with the pastoral, England and nationhood, his musical treatment of the texts translates the sentiments of a war poet into music.
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Bullock, Philip Ross. "The German Roots of Russian Orientalism: Hafiz’s Poetry in Early-20th-Century Russian Song." In Song Beyond the Nation, 47–64. British Academy, 2021. http://dx.doi.org/10.5871/bacad/9780197267196.003.0004.

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The Russian arts were as fascinated by exotic languages, cultures, and locales as their Western European counterparts, and at first glance, Russian settings of the poetry of Hafiz appears to form part of the broader field of musical exoticism in general, and Russian orientalism in particular. This chapter begins by examining the relationship between empire and music, before setting out a rather different account of Russian musical orientalism, one marked by a complex transnational flow of literary and musical influences, as well as practices of translation, imitation, cultural appropriation, and cross-border artistic exchange. Whilst forming part of a broader tendency to imagine visions of a supposed ‘orient’ that had little to do with any documented anthropological, ethnographic, philological, or linguistic reality, Russian settings of Hafiz’s poetry are ultimately the result of the import of elements of German romanticism. Here, writers, translators, and commentators co-opted a range of ‘exotic’ literatures in an attempt to distinguish themselves from the dominance of French classicism and fashion an autonomous form of German nationalism, key elements of which were then incorporated into mid-nineteenth-century Russian culture (as in the case of Afanasy Fet’s translations of Georg Daumer’s well-known ‘versions’ of Hafiz). Accordingly, Hafiz figures not so much as the object of orientalist representation (although there is certainly a strong element of that to the songs discussed here), but as an exemplary figure within a complex network of literary mediation.
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Kramer, Lawrence. "The Émigré Walt Whitman: Songs of Mourning, 1943–1948." In Song Beyond the Nation, 229–39. British Academy, 2021. http://dx.doi.org/10.5871/bacad/9780197267196.003.0013.

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Musical settings of Walt Whitman’s poetry were ‘beyond the nation’ from the very beginning. The first of them was composed in 1880 by an Alsatian immigrant to the US, Frédéric Louis Ritter, and until around 1930 the majority of Whitman settings came from German and British composers. The majority of those settings, in turn, dealt with war and its aftermath in mourning. Whitman’s poetry of the American Civil War provided a template for grappling musically with later conflicts, from the Boer War to World War I to World War II. The years 1942 and 1948 saw major war-themed settings from four German and German-émigré composers: Kurt Weill and Paul Hindemith in America, and Hans Werner Henze and Karl Amadeus Hartmann in Germany. A common thread among these pieces, exemplified most explicitly in Weill’s setting of ‘Come Up from the Fields, Father’, is the question of whether and how the act of transposed mourning can make the collective trauma of war ‘livable’ – in a sense of the term derived from T. W. Adorno and Judith Butler, for whom ‘livability’ is measured by the power of publicly avowed mourning to integrate trauma into the symbolic systems on which social life depends.
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Revell Barrett, Janet. "Fostering Historical Empathy Through Music, Art, and Poetry." In General Music, 134–51. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197509012.003.0008.

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Abstract This chapter encourages the adoption of an expansive approach to the music curriculum, particularly in the ways that teachers can enrich students’ experiences by juxtaposing music with closely related disciplines. The central aim is to illustrate how interdisciplinary instruction invites students’ historical empathy, deepening students’ understanding and affective connection to persons from the past through imaginative encounters and connections to their own life experiences. In the context of African American history, three rich areas for curricular work are explored for elementary, middle, and high school general music settings: children’s biographies of musical figures, notably Ella Fitzgerald; explorations of the Great Migration through the blues, the poetry of Langston Hughes, and Jacob Lawrence’s paintings; and student-directed inquiry exploring the role of the arts in portraying the experiences of African American students involved in school desegregation efforts.
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Brown, Marshall. "Performative Enactment vs Experiential Embodiment: Goethe Settings by Zelter, Reichardt and Schubert." In The Edinburgh Companion to Literature and Music, 349–59. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0036.

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The Romantic art song moved away from strophic poetic settings or sonorous declamation, with emotional nuance contributed by ornamentation and other performance subtleties, toward a more total integration of text and music, with expression tied to composition rather than to performance. This chapter illustrates the change, instancing Goethe settings by Johann Friedrich Reichardt and Carl Friedrich Zelter (the leading Lied composers of Goethe’s generation), and then Franz Schubert. The earlier composers rely on the singer to bring their musical scaffolds to life, featuring mood rather than drama, and encouraged in Zelter’s case by abundant performance directions. Schubert constructs intricately dynamic interchanges among words, keyboard, and vocalist. The key to the earlier songs is ‘soul’; that to Schubert is ‘experience’, as understood by Hegel. The Hegelian mode has overshadowed the earlier style, which is worth recognising as an equally valid, historically differentiated approach to understanding poetry.
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Tunbridge, Laura. "‘Once again … speaking of’ Heine, in Song." In Song Beyond the Nation, 114–32. British Academy, 2021. http://dx.doi.org/10.5871/bacad/9780197267196.003.0007.

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This chapter explores songs that move across temporal rather than geographical borders. Theodore Adorno’s two lectures on Heine, the lesser-known ‘Towards a Reappraisal of Heine’ (1949) and ‘Heine the Wound’ (1956) provide a way of thinking about the poet’s anti-sentimentality in relationship to notions of his inner exile and about how history can alter the course of an artist’s reception. The chapter focuses on the echoic effects of Heine settings by Wilhelm Killmayer (1927-2017) and Wolfgang Rihm (b. 1952). Both composers allude to aspects of nineteenth-century musical heritage, from the tradition of lieder composition in general to intertextual references. Comparison with Heine settings by Robert Schumann (1810-1856) demonstrate how the anti-sentimentalism of the poetry spoke not only to Romantic but also to post-modern generations.
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Figueroa, Michael A. "Metaphorical Jerusalem." In City of Song, 24–67. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197546475.003.0002.

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The first chapter establishes Jerusalem song’s poetics as a relation between metaphorical and material states. It begins with a meditation on the trope of longing, through an analysis of Avigdor Hameiri’s “From the Summit of Mt. Scopus” (1929) that moves between shifting ethnographic, historical, and analytical voices in order to model the explanatory power of genealogical method. This is followed by an overview of older intertextual resources and literary devices on which modern musicians have drawn, especially overt musical anthropomorphisms of Jerusalem via the poetic device of apostrophe in Psalm 137. The second half of the chapter explores how these characteristics manifest in Israeli musical settings by Nechama Hendel and others of medieval Andalusian poetry written by Yehuda Halevi. The chapter closes with a statement about the power of metaphor in musicological studies of the production of space.
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Terrigno, Loretta. "The Transmission and Reception of Courtly Love Poetry in Late Folksong Settings by Johannes Brahms, Friedrich Wilhelm Arnold, and Wilhelm Tappert." In Rethinking Brahms, 110—C6.P58. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197541739.003.0007.

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Abstract This chapter analyzes Brahms’s folksong settings “Ach Gott, wie weh thut Scheiden” and “Mir ist ein schöns brauns Maidelein” (WoO 33, Nos. 17 and 24), and sheds light on Brahms’s comparison of a range of sixteenth- through nineteenth-century sources for their texts and melodies. In contrast with collections by F. M. Böhme (published in 1877 and 1893−1894) that obscured the transmission of these poems and melodies, Brahms carefully untangled their provenance and reacted to other nineteenth-century arrangements, as suggested by his annotations in personal copies of Forster’s Frische teutsche Liedlein (1539−1556), Arnold’s Deutsche Volkslieder aus alter und neuer Zeit (ca. 1860−1870), Tappert’s 12 alte deutsche Lieder (1867), and the Deutsche Lieder mit ihren Original-Weisen by Kretzschmer and Zuccalmaglio (1838−1840). After this thorough research, Brahms combined modern melodic variants with courtly love poetry in WoO 33, creating new musical arrangements that express longing, separation, and fidelity in the text.
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Richards, Annette. "The Musical Poetry of the Graveyard." In The Edinburgh Companion to Literature and Music, 360–71. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0037.

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This chapter explores late-eighteenth-century musical responses to German and English texts on death and dying, presenting a musical aesthetics of the graveyard that ranges from horror to consolation, from the intensely corporeal to the transcendent and disembodied. Opening with Beethoven’s fragment for glass harmonica and spoken voice for Leonore Prohaska, the chapter points to a rhetoric of impassioned haunting in graveyard poetry (Blair’s The Grave, Warton’s Pleasures of Melancholy), and in Bürger’s Lenore, with its extravagant musical setting by the blind pianist Maria Theresia von Paradis. By contrast, Gray’s Elegy and Klopstock’s odes ‘Die Sommernacht’ and ‘Die frühen Gräber’ set to music by Gluck, stage transcendence and consolation. The chapter concludes with an analysis of Haydn’s ‘The Spirit’s Song’, which oscillates between these poles, and whose painstaking attention to the details of verbal gesture indicates not only skill in bringing music to words, but also deep sympathy with the aesthetics of late-eighteenth-century gothic.
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Conference papers on the topic "Poetry Musical settings"

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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.

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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.
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Katsumata, Hiromi, and Bo Liu. "A drawing system with an interface that can be used to impose limits and unleash creativity." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001503.

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In order to enjoy creativity, the creators need to be given environmental restrictions. For example, there are rules such as Japanese Haiku or Chinese Zeku for poetry, or musical grammar for music, and these rules are supposed to enhance the creativity of the creator. However, most existing drawing software focuses only on making the process of completing a work comfortable, and does not provide much support for the goal setting process that requires environmental restrictions. In this study, based on research on creativity, such as the idea method, we were able to show that developing a drawing system that imposes environmental restrictions, such as the appearance of obstacles on the canvas, causes changes in the creativity of the subjects. In conventional drawing software, it is common to start the creative process with a blank canvas so that the painter can paint freely. However, in our experiments, many of the participants said that they were able to come up with more ideas and enjoy painting more when obstacles appeared on the canvas. By creating obstacles, we succeeded in approaching the characteristics of human visual cognition and structuring the creative process. Digital creative activities give us more control than analog creative activities. This advantage can be used to make the first step of the creative process, the idea generation process, more convenient. In analog creation, you could not choose irreversible methods such as creating obstacles on the canvas. The drawing software of the future will emphasize the process of externalizing human images and make the creative process more enjoyable, without the need to stick to a blank canvas.
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Reports on the topic "Poetry Musical settings"

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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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