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Books on the topic 'Poetry Musical settings'

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

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1

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

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2

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

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3

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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4

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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5

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

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6

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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7

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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8

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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9

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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10

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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11

Siṅgha, Jabara Jaṅga. Masatūāṇā Ṭakasāla shabada kīratana racanāwalī. Paṭiālā: Gurmati Prakāshana, 2011.

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12

Nota bene: reading classics and writing melodies in the early Middle Ages. Turnhout: Brepols, 2006.

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13

Sitārā, Sītala Siṅgha. Gurabāṇī komala saṅgīta. Yū. Ke: Gurū Nānaka Mishanarī Blāiṇḍa Susāiṭī, 2012.

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14

Siṅgha, Kam̆walajīta. Guramatī saṅgīta: Paṛatāla shabada gāina. Paṭiālā: Guramati Prakāshana, 2010.

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15

Candana, Kulawanta Siṅgha. Sarala Sikkha saṅgīta rīta. Ammritasara: Bhā. Catara Siṅgha Jīwana Siṅgha, 2002.

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16

1929-, Giguère Roland, and Giguère Roland 1929-, eds. Thomas Hellman chante Roland Giguère. Montréal: L'Hexagone, 2012.

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17

Howard, Gerhard, ed. Ad sanctos: A choral performance work. Toronto: Coach House Press, 1993.

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18

P, Nichol B. Ad sanctos: The martyrology, book 9, 1986-87 : a choral performance work. Toronto: Coach House Press, 1993.

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19

Still songs: Music in and around the poetry of Paul Celan. Farnham, Surrey, England: Ashgate, 2012.

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20

Rastall, Richard. The secular Latin motet in the Renaissance. Lewiston [N.Y.]: Edwin Mellen Press, 2010.

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21

The secular Latin motet in the Renaissance. Lewiston [N.Y.]: Edwin Mellen Press, 2010.

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22

Chorale, Greater Middletown, ed. Letter from Italy, 1944: A war story in multiple voices. Simsbury, Conn: Antrim House, 2012.

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23

Umm Kulthūm fī al-shiʻr al-ʻArabī: Dirāsah fī ʻalāqat al-shāʻir bi-al-ghināʼ. al-Qāhirah: Wizārat al-Thaqāfah, al-Hayʼah al-Miṣrīyah al-ʻĀmmah li-Quṣūr al-Thaqāfah, 2013.

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24

Allpere, Anne. Estonian cantometric attempt II: The sacred and the profane, can it be heard? Tallinn: Ėėsti NSV Teaduste Akadeemia, 1989.

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25

Klaus Groth: "gesungene Gedichte" : Klaus Groth und seine Komponisten : eine Zusammenstellung der Vertonungen Grothscher Gedichte : ergänzt durch eine "musikalische Biographie" Groths und Lebensbeschreibungen der Komponisten. Hamburg: Arezzo, 2011.

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26

Paulus, Stephen. Meditations of Li Po: For mixed chorus (SSAATTBB). Valley Forge, Pa: European American Music, 1994.

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27

Paulus, Stephen. The lotus lovers: For SSAATTBB chorus, a cappella. St. Paul, MN: Paulus Publications, 2011.

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28

Beci, Veronika. --weil alles von der Sehnsucht kommt: Tendenzen einer Eichendorff-Rezeption durch das Lied, 1850-1910. Eisenach: K.D. Wagner, 1997.

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29

1521-1603, Monte Philippe de, ed. Poesia e musica nei madrigali a cinque voci di Filippo di Monte (1580-1595). Firenze: L.S. Olschki, 2003.

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30

Mario, Benedetti. La vida ese paréntesis. México, D.F: Aguilar, Altea, Taurus, Alfaguara, 1998.

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31

Mario, Benedetti. La vida ese paréntesis. México, D.F: Aguilar, Altea, Taurus, Alfaguara, 1998.

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32

Sistemno-teoreticheskie problemy kazachʹego ėposa. Moskva: Gos. respublikanskiĭ t︠s︡entr russkogo folʹklora, 2012.

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33

Hillier, Paul. The rags of time: 17th-c. English lute songs and dances. Los Angeles: Harmonia Mundi France, Production USA, 2002.

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34

Bauer, Ross. Ritual fragments: Soprano, flute (piccolo, alto), clarinet (bass clarinet), violin, violoncello, percussion, and piano. New York: C.F. Peters, 1996.

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35

Noske, Frits. French song from Berlioz to Duparc: The origin and development of the mélodie. 2nd ed. New York: Dover Publications, 1988.

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36

Geheime Botschaften: Homoerotische Subkulturen im Schubert-Kreis, bei Hugo von Hofmannsthal und Thomas Bernhard. Wien: Böhlau, 2006.

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37

1964-, SanGregory Paul, Healey Derek 1936-, Chen Chin-Chin 1964-, Huang Zi 1904-1938, Li Qingzhu, Huang Youdi 1912-2010, Li Yinghai, and Liu Wenjin, eds. Traditional and modern Chinese art songs. Geneseo, N.Y: Leyerle, 2009.

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38

1923-2002, Lima Quintana Hamlet, ed. Crónica de un semejante: Un perfil de Hamlet Lima Quintana. [Buenos Aires?]: Ediciones De Aquí a la Vuelta, 2010.

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39

Re-membering the present: The medieval German poet-minstrel in cultural context. Turnhout, Belgium: Brepols, 2005.

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40

Abbott, Helen. Baudelaire’s Musical Contexts. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.003.0001.

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This chapter interrogates the ‘musical’ aspects of Baudelaire’s poetry, including the music that inspired Baudelaire, the technical properties of his poetic texts which might be considered music-like, and the different music genres within which his poems have been set. It sets out a typology of song, examining how categorizations shift, particularly around the perceived boundaries between popular and classical music (such as chanson or mélodie). It addresses how the language we use to describe poetry’s relationship with music relies on extensive interart analogies, and explores whether recent developments in cognitive neuroscience can enhance our understanding of the connections between words and music through the model of shared resources. The chapter closes by proposing that scrutinizing the role of listeners’ imaginative capabilities in response to musical settings of poetry affords us a fresh way to understand how and why we use shared language to talk about both poetry and music.
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41

Stanford Slavic Studies. Scythian Books, 2003.

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42

Marsh, Selina Tusitala. Fast Talking PI. ARC Publications, 2012.

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43

Marsh, Selina Tusitala. Fast Talking PI. Auckland University Press, 2013.

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44

Marsh, Selina Tusitala. Fast Talking PI. Auckland University Press, 2018.

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45

Marsh, Selina Tusitala. Fast Talking PI. Auckland University Press, 2013.

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46

(Editor), Walther Durr, Thomas Seyboldt (Editor), and Siegfried Schmalzriedt (Editor), eds. Schuberts Lieder Nach Gedichten Aus Seinem Literarischen Freundeskreis: Auf Der Suche Nach Dem Ton Der Dichtung in Der Musik: Kongressbericht Ettlinge (Karlsruher Beitrage Zur Musikwissenschaft,). Peter Lang Publishing, 1999.

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47

Pei yue gu shi jian shang. Liaoning sheng xin hua shu dian fa xing, 1990.

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48

Helen, Geyer, Marggraf Wolfgang, Neubauer Jan, and Hochschule für Musik "Franz Liszt" Weimar. Institut für Musikwissenschaft., eds. Franz Schubert und die Dichtung: Symposium des Institutes für Musikwissenschaft der Hochschule für Musik Franz Liszt Weimar am 23. Juni 1997. Weimar: Universitätsverlag, 2000.

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49

Walther, Dürr, Schmalzriedt Siegfried, and Seyboldt Thomas, eds. Schuberts Lieder nach Gedichten aus seinem literarischen Freundeskreis: Auf der Suche nach dem Ton der Dichtung in der Musik : Kongressbericht Ettlingen 1997. Frankfurt am Main: P. Lang, 1999.

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50

Francis Poulenc et les poètes: Cahiers d'une exposition. Paris: Bibliothèque national de France, 1995.

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