Journal articles on the topic 'Poetry Musical settings'
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1
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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Samuel, Jamuna. "Ethics and Musical Language: A Gramscian Reading of Dallapiccola’s Liriche greche and Their Influence." Articles 35, no. 1 (February 14, 2017): 123–53. http://dx.doi.org/10.7202/1038947ar.
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Luigi Dallapiccola (1904–75)—a pioneering figure as serialist, composer of protest music, and trailblazer for the avant-garde—wrote his Greek Lyrics song cycle (1942–5) as an escape from wartime anxiety. I locate the Lyrics within a nexus of technique, text setting, and ethical engagement. That complex resonated with the younger composers Berio, Nono, and Maderna, each responding in the postwar period with settings from the same collection, Quasimodo’s 1940 free translation of classic Greek lyrics. I examine Quasimodo’s ethics, placing his poetry and Dallapiccola’s settings within Gramsci’s notions of language and politics, which were highly influential on postwar Italian composers.
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O'Brien, John. "Ronsard, Belleau and Renvoisy." Early Music History 13 (October 1994): 199–215. http://dx.doi.org/10.1017/s0261127900001352.
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Howard Mayer Brown's stimulating paper pays greatest attention to the centrality of Ronsard as the fons et origo for musical settings. One often has the impression, reading the paper, that there was no substantial problem of imitation in these settings: the composers simply took the words supplied by Ronsard and set them to music. In the comments which follow, I want to suggest a different approach to this question of imitation within Renaissance poetry and to ask what effect the issue of imitation itself had in the dialogue between poetry and music in mid sixteenth-century France. The focus I shall be using is the Anacreon of 1554.
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AASLID, VILDE. "The Poetic Mingus and the Politics of Genre in String Quartet No. 1." Journal of the Society for American Music 9, no. 1 (February 2015): 1–25. http://dx.doi.org/10.1017/s1752196314000522.
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AbstractIn 1972, the Whitney Museum of American Art commissioned new musical settings of poems by Frank O'Hara for a concert honoring the late poet. Among pieces by Virgil Thomson and Ned Rorem, the program featured a new work by Charles Mingus: his String Quartet No. 1. Mingus's piece was performed only once, at that concert, and was never recorded. It survives only in manuscript form.String Quartet No. 1 thwarts nearly all expectations of a piece by Mingus. Scored for strings and voice, the work's modernist approach to rhythm and pitch is unprecedented for the composer. Mingus chafed at being categorized as a “jazz” composer, and String Quartet No. 1's style is both a bid for and an undermining of the prestige of the high art world. Faced with primitivist discourses that characterized jazz musicians as unschooled and nonverbal, Mingus deployed poetry as a mode of resistance. He worked with poetic texts throughout his life, often writing the poetry himself. Mingus's sensitive setting of O'Hara's text in String Quartet No. 1 points to the centrality of poetry to Mingus's artistic and political project, and suggests that the piece's anomalous style can be partially understood as his response to O'Hara's text.
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CLARKE, MARTIN V. "CHARLES WESLEY, METHODISM AND NEW ART MUSIC IN THE LONG EIGHTEENTH CENTURY." Eighteenth Century Music 18, no. 2 (August 17, 2021): 271–93. http://dx.doi.org/10.1017/s1478570621000117.
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ABSTRACTThis article considers eighteenth- and early nineteenth-century Methodism's relationship with art music through the original settings of poetry by Charles Wesley by five notable musicians: John Frederick Lampe, George Frideric Handel, Jonathan Battishill, Charles Wesley junior and Samuel Wesley. It argues that the strong emphasis on congregational singing in popular and scholarly perceptions of Methodism, including within the movement itself, masks a more varied engagement with musical culture. The personal musical preferences of John and Charles Wesley brought them into contact with several leading musical figures in eighteenth-century London and initiated a small corpus of original musical settings of some of the latter's hymns. The article examines the textual and musical characteristics of these the better to understand their relationship with both eighteenth-century Methodism and fashionable musical culture of the period. It argues that Methodism was not, contrary to popular perception, uniformly opposed to or detached from the aesthetic considerations of artistic culture, that eighteenth-century Methodism and John and Charles Wesley cannot be regarded as synonymous and that, in this period, sacred music encompasses rather more than church music and cannot be narrowly defined in opposition to secular music.
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YEARSLEY, DAVID. "DEATH EVERYDAY: THE ANNA MAGDALENA BACH BOOK OF 1725 AND THE ART OF DYING." Eighteenth Century Music 2, no. 2 (September 2005): 231–49. http://dx.doi.org/10.1017/s1478570605000369.
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The Anna Magdalena Bach Book of 1725 is a heterogeneous collection of virtuosic and profound keyboard suites, light and often insipid dances, and a number of sacred songs whose dominant theme is death. This striking juxtaposition of the sacred and secular is hardly lessened by the fact that the songs are written in a disarmingly fashionable style which at first seems incommensurate with the existential issues addressed by the poetry. While scholars have generally seen the notebook’s less demanding pieces, including the songs, as a testament to Anna Magdalena’s taste for the galant style, little has been said about her apparent penchant for reflecting on and preparing for death through the medium of her personal musical notebook. By reading these poetic texts and their musical settings against the voluminous writings on the art of dying to be found in the family’s theological library, this essay argues for the centrality of the ars moriendi in the Bachs’ domestic life and in their music-making.
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Beard, Ellen L. "Satire and Social Change: The Bard, the Schoolmaster and the Drover." Northern Scotland 8, no. 1 (May 2017): 1–21. http://dx.doi.org/10.3366/nor.2017.0124.
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Despite his lack of formal education, Sutherland bard Rob Donn MacKay (1714–78) left over 220 published poems, far more than any other contemporary Gaelic poet. During his lifetime he was equally esteemed for well-crafted satires and well-chosen (or newly-composed) musical settings for his verse. This article examines a group of related satires attacking the schoolmaster John Sutherland and the drover John Gray, comparing them to Rob Donn's views on other schoolmasters and cattle dealers, and considering both what conventional historical sources tell us about the poetry and what the poetry tells us about history, particularly literacy, bilingualism, and the cattle trade in the eighteenth-century Highlands.
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Howe, Blake. "The Allure of Dissolution: Bodies, Forces, and Cyclicity in Schubert's Final Mayrhofer Settings." Journal of the American Musicological Society 62, no. 2 (2009): 271–322. http://dx.doi.org/10.1525/jams.2009.62.2.271.
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Composed in the early days of March 1824, Schubert's final four settings of the poetry of his friend Johann Mayrhofer (“Der Sieg,” “Abendstern,” “Auflöösung,” and “Gondelfahrer,” D. 805–808) revolve around a shared narrative: corporeal limitation, when ruptured by outward-seeking forces, yields a desirable state of spiritual transcendence. This narrative, common in the philosophical, theological, scientific, and medical texts of several major contemporary writers, treats the body as a disabled limitation which must in turn be “heroically overcome.” In Schubert's settings, energized musical gestures are “released” at poetic moments of corporeal death, and chromatic mediants—particularly the flatted submediant—are used as centrifugal harmonies that breach diatonic limitation. “Auflöösung,” though positioned third within the set of four songs by Otto Erich Deutsch in his chronological catalogue of Schubert's music, was probably composed last. This adjustment has significant ramifications for a cyclical or collective consideration of the four final Mayrhofer settings, because in many ways this virtuosic song acts as a reservoir of the gestural and aesthetic ideas developed in the previous three.
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MILLER, BONNY H. "Augusta Browne: From Musical Prodigy to Musical Pilgrim in Nineteenth-Century America." Journal of the Society for American Music 8, no. 2 (May 2014): 189–218. http://dx.doi.org/10.1017/s1752196314000078.
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AbstractAugusta Browne Garrett composed at least two hundred piano pieces, songs, duets, hymns, and sacred settings between her birth in Dublin, Ireland, around 1820, and her death in Washington, D.C., in 1882. Judith Tick celebrated Browne as the “most prolific woman composer in America before 1870” in her landmark study American Women Composers before 1870. Browne, however, cast an enduring shadow as an author as well, publishing two books, a dozen poems, several Protestant morality tracts, and more than sixty music essays, nonfiction pieces, and short stories. By means of her prose publications, Augusta Browne “put herself into the text—as into the world, into history—by her own movement,” as feminist writer Hélène Cixous urged of women a century later. Browne maintained a presence in the periodical press for four decades in a literary career that spanned music journalism, memoir, humor, fiction, poetry, and Christian devotional literature, but one essay, “The Music of America” (1845), generated attention through the twentieth century. With much of her work now easily available in digitized sources, Browne's life can be recovered, her music experienced, and her prose reassessed, which taken together yield a rich picture of the struggles, successes, and opinions of a singular participant and witness in American music of her era.
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Salfen, Kevin. "Britten the Anthologist." 19th-Century Music 38, no. 1 (2014): 79–112. http://dx.doi.org/10.1525/ncm.2014.38.1.079.
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Abstract Benjamin Britten was one of several twentieth-century British composers active before the Second World War who wrote “anthology cycles”—that is, cyclic vocal works on poetry anthologies of the composer's own making. This apparently British invention is deeply indebted to the widespread success of the anthology as a literary form in classrooms, homes, and marketplaces of Victorian and Edwardian England. Britten's early attraction to canonical anthologies such as Arthur Quiller-Couch's Oxford Book of English Verse (1900), for example, is representative of a cultural practice of reading. Britten and other British composers renewed their connection to that practice when they became anthologists for their musical works, identifying themselves as arbiters of poetic and musical taste. Britten's anthology cycle Serenade for tenor, horn, and strings (1943) uses Quiller-Couch's Oxford Book for as many as four of its six texts, many of which share pastoral themes. And yet the composer's musical settings often seem to challenge a conventional reading of the chosen texts and the generic titles Britten assigned to each movement. By creating a canonical, pastoral anthology and then challenging it through music, Britten, who had just returned to England from the United States, invested Serenade with the potential to present the world of prewar England as embattled.
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MAK, SU YIN. "SCHUBERT AS SCHILLER’S SENTIMENTAL POET." Eighteenth Century Music 4, no. 2 (September 2007): 251–63. http://dx.doi.org/10.1017/s1478570607000930.
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ABSTRACTSchubert’s lifelong interest in literature, his close friendships with poets and his preference for lyric poetry in his prolific song settings suggest that his compositional language may be shaped as much by a literary imagination as by musical concerns. This article argues for a close correspondence between Schubert’s late instrumental style and Friedrich Schiller’s conception of the elegiac. In ‘On Naïve and Sentimental Poetry’ Schiller describes the sentimental poet as having to contend with two conflicting objects, the ideal and actuality, and to represent their opposition either satirically or elegiacally: whereas satire rails against the imperfections of present reality, elegy expresses longing for an ideal that is lost and unattainable. Paradoxically, however, the poet’s longing must take place in a flawed present; the elegiac thus projects not only a disjunction between divided worlds, but also a cyclic temporality in which memory and desire, past and future, are both entwined with the immediacy of present experience. In both Schiller and Schubert, this paradoxical temporal sensibility is often represented by patterns of returning, repetition and circularity. A close reading of Schubert’s Moment musical in A flat major, d780/2, illustrates how Schiller’s conception of the elegiac might be put into analytical practice.
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Dalmonte, Rossana. "Rethinking the Influence of Italian Poetry and Music on Liszt The Petrarca Sonnet Benedetto sia ‘l giorno." Studia Musicologica 54, no. 2 (June 1, 2013): 177–98. http://dx.doi.org/10.1556/smus.54.2013.2.5.
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The article aims to clarify some intricate points about the interpretation of Liszt’s Petrarch Sonnet Benedetto sia ‘l giorno throughout its many settings (manuscripts and prints). The author discusses first the problem of Liszt’s knowledge of the Italian language and metric norms, usually taken for granted; then that of the dates — of composition, of revision(s), of publication(s) — which has been covered much more widely in the literature than that of the language, but that still presents uncertainties. Taking the correspondence between the rhythm of the poem and that of the music as a means of analysis, the author suggests the cooperation of external hands in the setting of the words. Discussing the form of the piece, the paper tries to confute the various commonplaces of the literature; the difficulties inherent in the meter (the hendecasyllable) and the various ways in which its rhythm is interrupted — through repetitions, pauses and vocalizations etc. — are examined. The conclusion is that in Benedetto sia ‘l giorno the relationship between music and poetry does not reflect any particular model of lied nor of opera aria; the piece instead hints slightly to the old Italian madrigal. Benedetto is not the occurrence of a known musical form, but an example of the crisis of the form.
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Rutherford, Susan. "“Loud and Open Speaking in ‘the People's’ Mighty Name”: Eliza Cook, Music and Politics." Journal of British Studies 60, no. 2 (April 2021): 416–29. http://dx.doi.org/10.1017/jbr.2020.249.
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AbstractIn 1849, the working-class poet Eliza Cook (1818–89) expanded her international profile by venturing into weekly periodical publication with Eliza Cook's Journal. Not only was this the first British journal named after a female editor but it also placed an unusual emphasis on music—unusual not least because few women in that epoch were given the opportunity to participate in the broader critical discourses on music. Cook's poetry was already widely disseminated through various musical settings by composers from William Balfe to Henry Russell; in her new journal, music further emerged as central to her philosophy of liberation for all. Placing street musicians alongside opera and salon concerts in an exhibition of remarkably eclectic taste, Cook saw the propensity for music making in all layers of society. She regarded musical culture as a soundscape of experience, emotion, and agency to which she, and all those from the laboring classes, not only had a right to access, engage in, and share but was part of their own innate being. Music symbolized imagination, freedom from the mundane, and limitless human potential. Efforts to secure music for “the people” were thus indissolubly linked to broader political rights for suffrage and equality.
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Frandsen, Mary E. ""Schütz and the young Italians at the Dresden court" revisited : Roman influences in "O bone Jesu, fili Mariae virginis" (SWV 471)." Schütz-Jahrbuch 26 (August 24, 2017): 133–54. http://dx.doi.org/10.13141/sjb.v2004947.
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Das Interesse von Heinrich Schütz an den musikalischen Entwicklungen in Venedig ist gut dokumentiert - genauso wie seine Wertschätzung christlicher Andachtstexte, vor allem während der 1620er und 1630er Jahre. Die in der Dübener Sammlung in Uppsala überlieferte Komposition "O bone Jesu, fili Mariae Virginis" (SWV 471) auf einen ebensolchen Andachtstext legt die Vermutung nahe, dass Schütz in seinem späteren Leben sich auch mit der römischen geistlichen Musik von Vincenzo Albrici und Giuseppe Peranda beschäftigte, die seine eigene nach ca. 1656 am Dresdner Hof zu großen Teilen ersetzt hatte. Im textlichen Inhalt und dem formalen Aufbau zeigt "Ob bone Jesu" demnach auffällige Ähnlichkeiten zu Perandas "Te solum aestuat" (ca. 1664) und lässt dadurch erahnen, wie Schütz mit den stilistischen Innovationen seiner römischen Nachfolger experimentierte und mit sie in seiner eigenen musikalischen Handschrift in eigene Werke integrierte. (Übersetzung)
Heinrich Schütz's interest in Venetian musical developments is well documented, as is his cultivation of Christocentric devotional texts, particularly in the 1620s and 1630s. A work with such a devotional text that survives in the Düben Collection in Uppsala, 'O bone Jesu, fili Mariae Virginis' (SWV 471), strongly suggests that later in his life, Schütz was also drawn to the Roman-style sacred music of Vincenzo Albrici and Giuseppe Peranda that had largely supplanted his own at the Dresden court after circa 1656. In 'O bone Jesu' he experimented with some of the prominent features of that repertoire, in particular the alternation of prose (drawn from various devotional sources) and metric poetry (here drawn from 'Jesu dulcis memoria'), and the alternation of recitative settings of the prose texts with a cantionale-like setting of the poetic stanzas (unlike the Italians, he does not set the poetry in aria style). In its textual content and formal architecture, the work exhibits considerable similarities with Peranda's 'Te solum aestuat' (circa 1664), and reveals how Schütz experimented with the stylistic innovations of his Roman successors, but put his own characteristic stamp on the music in the process. (Autor)
Quelle: Bibliographie des Musikschrifttums online
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Tingler, Stephanie. "(In)Habitation: Musical Settings of Margaret Atwood Poetry by American Women Composers. Eileen Strempel, soprano; Sylvie Beaudette, piano. Centaur Records CRC3002. 2010." Journal of the Society for American Music 6, no. 1 (February 2012): 133–35. http://dx.doi.org/10.1017/s1752196311000472.
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Wilson, Clare. "Two artists and two mélodies." Journal of Romance Studies 21, no. 3 (December 1, 2021): 375–98. http://dx.doi.org/10.3828/jrs.2021.21.
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André Caplet (1878-1925) set just two of Baudelaire’s poems: La Cloche fêlée [‘The Cracked Bell’] and La Mort des pauvres [‘The Death of the Poor’]. These mélodies were composed in 1922, just three years before the artist’s death. For a composer with a tendency to shy away from setting poetry of the French giants of literature, the questions of how and why Caplet chose to translate Baudelaire’s poetry into the mélodie are intriguing. This exploration of La Cloche fêlée and La Mort des pauvres considers the ways in which Caplet reflects the poetic imagery of Baudelaire’s texts within musical structures. Caplet’s compositional language is distinctive, and his artistic approach to musically illuminating poetic meaning is perceptive and sensitive. Through viewing the creative intersection of these two artists, this article offers an interpretation that presents a perspective on Caplet’s musical character and reveals insight into his connection to Baudelaire’s poetic language.
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Bergua Cavero, Jorge. "Invention and Imitation: an overview of musical settings of Classical poetry and the rediscovery of Ancient music, from the Middle Ages to the Renaissance." Anabases, no. 18 (October 1, 2013): 61–69. http://dx.doi.org/10.4000/anabases.4347.
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Allsopp, Niall. "Tom Cain and Ruth Connolly (eds),The Complete Poetry of Robert HerrickVolume I.Tom Cain and Ruth Connolly (eds),The Complete Poetry of Robert HerrickVolume II. Musical settings transcribed and annotated by Abigail Ballantyne." Notes and Queries 62, no. 4 (November 26, 2015): 622–24. http://dx.doi.org/10.1093/notesj/gjv166.
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Smith, John Arthur. "Musical aspects of Old Testament canticles in their biblical setting." Early Music History 17 (October 1998): 221–64. http://dx.doi.org/10.1017/s0261127900001650.
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The Hebrew Old Testament contains, besides prose narratives and laws, a considerable amount of poetry. The books of Lamentations, Proverbs and Psalms and the Song of Solomon, together with the prophetic oracles that make up the books of Amos, Habakkuk, Joel, Micah, Nahum, Obadiah and Zephaniah, consist entirely, or almost entirely, of poetry. In several other books, especially Job and the books of the prophets Haggai, Isaiah and Jeremiah, poetry predominates, while in the books of history and law, although prose predominates, poetry is never entirely absent, brief though its manifestations sometimes are. The vast majority of the poetry is sacred, as would be expected from texts that occur within religious writings. The relatively small amount of profane poetry consists of a handful of short examples and the Song of Solomon.
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Palmer, Peter. "OTHMAR SCHOECK'S SETTINGS OF GOTTFRIED KELLER." Tempo 64, no. 251 (January 2010): 28–37. http://dx.doi.org/10.1017/s0040298210000045.
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The Swiss author Gottfried Keller was 27 when he published his first volume of poems in 1846. His early poetry was partly influenced by the German battle for liberalism and the experience of those émigrés who, like Wagner, found their way to Switzerland. The main literary impulses came from Goethe and the German Romantics, impulses finding expression in subjective, even mystical verses. At the same time Keller never lost touch with the here-and-now: a feature that would earn him the description of a poetic realist.
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Visser, Marianna W., and Phillip Hayab John. "African Oral Poetry and Performance: a study of the spoken verse." Southern African Journal for Folklore Studies 27, no. 2 (February 8, 2018): 28–39. http://dx.doi.org/10.25159/1016-8427/2475.
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The article defines poetry and situates the genre within an African context, with justifications on why it relies on a performative enactment for the realisation of its full import. The focus is on the fact that much of what is characteristically categorised as “poetry” in African oral literature is intended to be performed in a musical setting, where the melodic and vocal components are mutually dependent on representation. The leading concern, therefore, is the observation that poetry in a traditional African society derives its classification from the perception of the society for which it is performed, and need not be limited to the Western construal or perspective. The article employs poetic verses from the Ham and Hausa of Nigeria, the Ewe and Akan of Ghana, the Ocoli of Uganda, and the Zulu of Southern Africa to exemplify the position that an enactment reveals the core of the communicative act in an orally-recited poetry.
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Samostienko (Suslova), Evgenia V. "POETIC THEORY OF COMMUNICATION BY ELIZAVETA MNATSAKANOVA." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 7, no. 3 (September 1, 2022): 98–110. http://dx.doi.org/10.18522/2415-8852-2022-3-98-110.
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This article is devoted to the study of communication strategies in the poetry of Elizaveta Mnatsakanova, one of the main Russian-speaking poets of the second half of the 20th century. Using the principles of working with sound and experimental musical composition, the author creates a very special poetic language that is typologically close to the so-called spectromorphology, an approach developed by the composer Denis Smalley in the 1980s. The author of this concept made a great contribution to the development of the theory of sound art, as he proposed a kind of grammar for electro-acoustic music. Elizaveta Mnatsakanova also creates a kind of spectromorphological worlds on the territory of poetry, organizing a series of words, decomposing words into separate elements and thus setting complex sequences of semantic metamorphoses. This poetic technique, outwardly resembling the practices of the avant-garde, differs radically from them, and this difference lies in the communication strategy used by Mnatsakanova. The fact is that it creates a special double addressing: poetic texts are simultaneously addressed to both the subject and nature itself. Thus, this poetry itself becomes a dynamic boundary between, in the words of Walter Benjamin, “the language of men” and “the language of things”. Through the practice of complex translation, the poet offers her own theory of communication, linguistically rethinking not only the relationship between the subject and the environment, but also the relationship between the interlocutors, even if they are separated in space and time. The material of this article was not only the poetry of Elizaveta Mnatsakanova, but also her essays on theoretical issues and practices of other authors. Poetic texts are considered in the article in the light of linguistic poetics, sound theory, translation theory and discourse analysis.
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Chater, James. "Poetry in the Service of Music: The Case of Giovambattista Strozzi the Younger (1551–1634)." Journal of Musicology 29, no. 4 (2012): 328–84. http://dx.doi.org/10.1525/jm.2012.29.4.328.
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Giovambattista (G. B.) Strozzi the Younger (1551–1634) occupied an important place in the literary life of Florence during the period when the Medici were consolidating their absolute rule over Tuscany. As a founder member and host of the Accademia degli Alterati he stands at the center of a web of poets and academicians who strove to bring about a closer cooperation between music, literature, and theater. Strozzi is of interest to music historians for his work in three overlapping areas. First, he provided the texts for intermedi, maschere, and other music performed in Florence from 1579 until 1608, including music celebrating dynastic events of the Medici family. Second, a number of his poems were disseminated as the texts of published madrigals. Third, G. B. Strozzi is the author of poesia per musica, poems written specifically for musical setting or as contrafacta for existing musical pieces. In this area Strozzi was influenced by the reforming and moralizing tendencies of the Congregazione dell’Oratorio. This article surveys Strozzi’s contribution in these three overlapping areas and also focuses on the poems Strozzi wrote in homage to Bianca Cappello, Francesco de’ Medici’s mistress and later his wife.
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Docherty, Barbara. "Sentence into Cadence: The word-setting of Tippett and Britten." Tempo, no. 166 (September 1988): 2–11. http://dx.doi.org/10.1017/s0040298200024256.
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When Addressing a text to be set a composer will, at the extremes, offer it violence or reverence, and a sharp-edged exchange was committed to print in the 1960's concerning the correct relation between parole and musica when sentence (or stanza) is made cadence. In his Conclusion to Denis Stevens's A History of Song, Michael Tippett stated that one of the attributes of the song-writer was the ability to destroy all the verbal music of the poetry he set and to substitute ‘the music of music’. Five years later, in his contribution to the Festschrift for Tippett's 60th birthday, Peter Pears made a spirited denial of this ‘Mantis-like’ proposition: the composer should court his text, designing a musical structure compliant to his purpose while according the words the care of the poet whose art they first were. Behind this genteel shadow-boxing lay a wider issue: whether there were definable canons for the setting of English text (as exemplified by Benjamin Britten, since it was against his vocal works that the felicities and inflations Pears discerned in Tippett's 1943 cantata Boyhood's End and 1951 song cycle The Heart's Assurance were implicitly being measured) and whether Tippett's practice flouted them.
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DRABKIN, WILLIAM. "SCHUBERT, SCHENKER AND THE ART OF SETTING GERMAN POETRY." Eighteenth Century Music 5, no. 2 (September 2008): 209–36. http://dx.doi.org/10.1017/s1478570608001498.
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Nearly half a century after gaining a solid footing in the academic world, the achievements of Heinrich Schenker remain associated more with tonal structure and coherence than with musical expression. The focus of his published work, exemplified largely by instrumental music from the eighteenth and early nineteenth centuries, supports this view. There are just five short writings about music for voices: two essays on Bach’s St Matthew Passion, one on the opening number from Haydn’s Creation, and two on Schubert songs. To be sure, romantic lieder appear as music examples for the larger theory books, but there they serve as illustrations of harmony, voice leading and form, rather than the relationship of word to tone.
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Snarrenberg, Robert. "Brahms’s Non-Strophic Settings of Stanzaic Poetry." Music and Letters 98, no. 2 (May 1, 2017): 204–31. http://dx.doi.org/10.1093/ml/gcx051.
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Kilbane, Matthew. "A Speech-Musical Modernism: Harry Partch's Lyric Media." PMLA/Publications of the Modern Language Association of America 135, no. 3 (May 2020): 511–29. http://dx.doi.org/10.1632/pmla.2020.135.3.511.
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Recent work at the intersection of literary history and sound studies has taught us to regard lyric poetry as a sonic medium in its own right, but what sort of medium is it? This article unfolds lyric's intrinsic intermediality by way of the American composer Harry Partch and his brief collaboration with William Butler Yeats. Rekindling Yeats's turn-of-the-century dream of a new art uniting word and music, Partch's experiments setting poetry to microtonal music involved notating the subtle melodies of speech with new scales and instruments–homemade lyres, in fact. Built to compete with the phonograph, these new-old media pressed lyric to its absolute limit as a symbolic medium, clarifying both lyric's intermediality and its sensitivity to technological change. When Partch, who spent several years as an itinerant “hobo” in the 1930s, transplanted his Yeatsian speech-music to the transient shelters of the Depression-era West and began notating migrant voices, this compositional practice heralded unprecedented possibilities for the literary inscription of speech.
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Kilpatrick, Emily. "Moot point: Editing Poetry and Punctuation in Fauré's Early Songs." Nineteenth-Century Music Review 9, no. 2 (December 2012): 213–35. http://dx.doi.org/10.1017/s1479409812000286.
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Comparison of the various printed and manuscript sources in the early songs of Gabriel Fauré reveals considerable discrepancies between the punctuation and formatting of the poems in their original published forms and the way in which they appear on the musical page. Numerous articles of punctuation are omitted, others appear in different form to their poetic originals and new symbols occasionally appear. Despite the many source variants and lacunae (notably the absence of engraving copy and proofs), together with the composer's occasionally haphazard notation, the disparities between musical and literary sources are often sufficiently numerous and consistent as to suggest deliberate compositional intervention. While critical editions of song and opera typically allow for compositional initiative with regard to changes to the words of poems, punctuation and formatting are generally (and often tacitly) amended to match literary, rather than musical sources. This study tests that standard editorial practice – one little discussed in the critical literature – against a more nuanced methodology, viewing the demands of a grammatically and semantically coherent text within a musical rather than an exclusively poetic context. It explores the symbiosis of musical and grammatical symbols, which Fauré often seems to have used almost interchangeably, and tests the implications for performers of Fauré's text-setting practices. In seeking a balance between fidelity to the poet and the composer, it also readdresses our editorial responsibility to the performer.
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Binder, Benjamin. "Robert, Clara and the Transformation of Poetic Irony in Schumann's Lieder: The Case of ‘Dein Angesicht’." Nineteenth-Century Music Review 10, no. 1 (June 2013): 1–28. http://dx.doi.org/10.1017/s1479409813000025.
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In the last decade, musicologists have definitively put to rest the lingering concern that Robert Schumann misunderstood poetic irony in his settings of Heinrich Heine's poetry. My contribution to this project begins with Robert's written correspondence with his fiancée Clara Wieck in the years leading up to their marriage in 1840. Relying on passages in the letters that have previously received little or no critical attention, I closely observe the lovers’ views about the workings of ironic language in their relationship, especially concerning the technique that scholars of Heine's poetry have called the Stimmungsbruch (‘breaking of mood’): a sudden reversal of tone that punctures a poem's lyric beauty and maliciously invalidates its apparent sincerity. Clara detested this gesture when it came from Robert in everyday life or in his letters; she insisted that Robert share his negative feelings openly, even though Robert knew that this would distress her. The letters thus provide a helpful context in which to understand Schumann's idiosyncratic compositional treatment of the Stimmungsbruch in ‘Dein Angesicht’ (1840). Using the evidence of the letters, I argue that Heine's poem would likely have had strong personal associations for Robert and Clara. In his setting, Robert thus transformed the poem's dual Stimmungsbruch to reflect pain honestly without inflicting it at the same time. Focusing primarily on the torturous dialectic between major and minor in the song, I show how Robert has the protagonist absorb the thrust of Heine's damaging Stimmungsbruch into himself, keeping the beloved out of harm's way while still allowing the dark, throbbing energy of the wound to radiate from beneath the surface.
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Schleuse, Paul. "“A Tale Completed in the Mind”: Genre and Imitation in L'Amfiparnaso (1597)." Journal of Musicology 29, no. 2 (2012): 101–53. http://dx.doi.org/10.1525/jm.2012.29.2.101.
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Musical histories before the twentieth century consistently described Orazio Vecchi's L'Amfiparnaso (published in 1597) as an early or nascent form of opera, despite the composer's explanation that the work is an aural spectacle, not a visual one. Later scholars have persisted in viewing L'Amfiparnaso as a fundamentally theatrical work (in a notional genre called madrigal comedy), designed for quasi-dramatic performance before a listening audience. A close reading of this historiography, along with a partial reconstruction of the membership and movements of the Gelosi and Uniti theater companies in the 1590s, disproves the widely held assumption that L'Amfiparnaso was composed and performed in 1594, and suggests that its characters' names refer to specific actors who performed with the Uniti in Bologna in 1595 and 1596. This new account of the book's origin opens it up to interpretation as a recreational collection of musical imitations of theatre, rather than as an incomplete “script” for a novel kind of dramatic performance. Through its diverse musical styles and poetic registers (Vecchi penned both the poems and the music), as well as its unusual custom-made woodcut illustrations, L'Amfiparnaso presents scenes whose range defies cinquecento theatrical convention. Urban comic dialogues share the imagined stage with tragicomic monologues, idiosyncratic musical dialogues are found alongside serious madrigals, and the woodcuts depict both characteristic comic and pastoral stage settings. As a whole, then, L'Amfiparnaso represents—in Vecchi's words—“almost all the actions of the private man.” This emphasis on variety locates the book firmly within the poetic sphere of Vecchi's other large-scale collections, Selva di varia ricreatione (1590) and Convito musicale (1597), and adds special resonance to his claim that those seeking “a complete tale” in L'Amfiparnaso will find it only “in the mind.”
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Daverio, John. "The "Wechsel der Töne" in Brahms's "Schicksalslied"." Journal of the American Musicological Society 46, no. 1 (1993): 84–113. http://dx.doi.org/10.2307/831806.
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The nature of musical meaning in Brahms's Schicksalslied, op. 54, a setting of an interpolated lyric from Friedrich Hölderlin's epistolary novel Hyperion, has long puzzled students of the composer's works. Brahms's apparent contradiction of the message of the poem in an ethereal orchestral postlude is here considered in the light of Hölderlin's own poetic theory of "alternating tones" toward the end of demonstrating the composer's adherence to the spirit, if not the letter, of the poet's work. The Schicksalslied is further interpreted as the last instance of the Erlebnislyrik (lyric of personal experience) within Brahms's output, and hence as a telling prelude to the symphonic essays of the 1870s and 1880s.
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Bottge, Karen M. "““Das verlassene Määgdlein””: Grief Partaken." 19th-Century Music 33, no. 2 (2009): 173–92. http://dx.doi.org/10.1525/ncm.2009.33.2.173.
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Abstract Perhaps the most influential abandoned woman to surface in the musical history of the nineteenth century was that conceived by Biedermeier poet Eduard Möörike. Since its initial publication in 1832, his ““Das verlassene Määgdlein”” has engaged the sustained attention of composers, performers, and even music analysts and critics. Not only did his Määgdlein prompt the creation of numerous nineteenth-century volkstüümliche varianten throughout Germany and Austria, but she also inspired 130 musical settings dating between 1832 and 1985. Yet, although Möörike is just one of many figures within a long tradition of male poets writing on female abandonment, there seems to be something to this particular poem, that is, to Möörike's Määgdlein, that has compelled composers to retell her tale again and again in song. My discussion begins by first revisiting the poem's original novelistic context, Maler Nolten: Novelle in zwei Theilen (1832). Thereafter I follow Möörike's Määgdlein from her poetic beginnings to two of her best-known musical reappearances: Robert Schumann's ““Das verlassne Määgdelein”” (op. 64, no. 2) of 1847 and the work it inspired forty years later, Hugo Wolf's 1888 ““Das verlassene Määgdlein”” (also op. 64, no. 2), perhaps the most renowned setting of them all. Through the juxtaposition of these two settings we may not only uncover their potential textual and musical interconnections, but also gain insight into the tacit cultural understandings and ideologies surrounding those who take up the voice of the abandoned.
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Venn, Edward. "SERENADES AND ELEGIES: THE RECENT MUSIC OF HUGH WOOD — PART II." Tempo 59, no. 233 (June 21, 2005): 26–37. http://dx.doi.org/10.1017/s0040298205000215.
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Geoffrey Hill's latest book of poems, Scenes from Comus, borrows its title from Wood's op. 6, and is dedicated to the composer for his seventieth birthday. The two men have been friends for many years and are exact contemporaries: for the poet's seventieth birthday, Wood wrote a vocal-instrumental setting of Hill's Tenebrae. This interchange between poet and musician highlights Wood's abiding concern with poets and poetry, and particularly English verse of the 20th century. He has described this repertoire as ‘a treasure-house, and our poets continue to produce good lyric poetry to this day: it's a waste of being English not to draw on these riches; and the composer has a particular duty to the poets of his own time’. More recently, Jeremy Thurlow has drawn attention to Wood's ‘idiomatic and refined response to English verse: his songs for voice and piano form a considerable part of his oeuvre and must be considered the most distinctive and substantial contribution to British song-writing since Britten and Tippet’.
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Bharadwaj, S. "Dylan Thomas’s 18 Poems: The Poet’s Articulate Voice." Studies in English Language Teaching 3, no. 4 (December 24, 2015): 418. http://dx.doi.org/10.22158/selt.v3n4p418.
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<p><em>In 18 Poems, Dylan Thomas’s search for rhymes around the poles is really a quest for the significant voice of poetry. At one level, the poem articulates the poet’s craving for home and the assurance that this resemblance of a home provides. But it reveals a deeper concern, a quest for and commitment to human reality; and for Thomas, reality is now identified with the paradoxical poetry of Yeats in contrast to Auden’s intellectual art. Linda M. Shires holds that “what is remarkable is the originality and intensity with which” his themes such as birth and death, process and decay, are introduced. To Walford Davies, Thomas’s early poetry, while offering “the reader only an impenetrable enigma” is “difficult and obscure in an individual way”</em><em>.</em><em> John Ackerman explains that the paradoxical attitude of Thomas in 18 Poems “occasions much of the obscurity … the images, however, are usually grouped by a sturdy advancing rhythm”</em><em>.</em><em> In the study of Thomas’s 18 Poems, the critics whose focal point is more on obscurity and musical setting hardly discuss his search for poetic image. Hence, this paper, adopting a figurative study, strives to unfold the meaning of the poet’s dramatic language suggestive of the Yeatsian articulate voice that contradicts the Word-centric articulate silence of Auden.</em><em></em></p>
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Johnson, William A. "Musical evenings in the early Empire: new evidence from a Greek papyrus with musical notation." Journal of Hellenic Studies 120 (November 2000): 57–85. http://dx.doi.org/10.2307/632481.
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With disarmingly open conceit, the Younger Pliny tells Pontius Allifanus that ‘my hendecasyllables are read, are copied, are even sung, and Greeks (who have learned Latin out of love for my poetry book) make my verses resound to cithara and lyre’ (Epist. 7.4.9). By Pliny's time, Greek musicians (and actors) were widely distributed and organized in a worldwide guild centred at Rome, so it will not surprise us that Greeks are the ones setting the verses to music. But what sort of music? When Pliny went out to hear his beloved poems sung to cithara and lyre, what did it sound like? Or, more generally, what did Pliny, or Martial, or, in an earlier generation, Horace see and hear when out for an evening's musical entertainment at the hands of a Greek troupe? Until fairly recently, we have known precious little. Literary sources give the odd anecdote, such as the reports of Nero's performances, but in general tell us little specific about the content or style of musical entertainment in the Roman era. And sources speaking more technically about music itself lend the impression that nothing significant happened after the ‘New Music’ was introduced in the fourth century BC.
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Yakhno, О. І. "Paradigms of rock music and jazz: comparative discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 161–76. http://dx.doi.org/10.34064/khnum1-53.10.
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Objectives and methodology. The article is devoted to the revealing of the relation and differences between rock music and jazz, as the phenomena of the “third” layer. It is noted, that, in methodological terms, such a comparative approach is advisable to implement with the use of a paradigm apparatus that fixes a certain commonality in the development of each of the studied phenomena at different stages of evolution. The application of this concept to the phenomena of art is a characteristic feature of modern musicology. In the broadest sense, the paradigm is the possibility of “thinking by analogy” (according to Aristotle), and in music it relates both to the field of theory (views on music as a form of art) and practice (musical and artistic phenomena as the products of composer and performing art).The article proposes a classification of rock music paradigms, which are based on the available data on the aesthetics and communication of jazz and notes that rock music on the path of its evolution has passed a number of stages, which in general can be designated as paradigms. The article suggests a comparative description of the movement of aesthetic and communicative paradigms of jazz and rock music. It is noted that in jazzology this issue has long been relevant, which is not the case for the study of rock music. Despite all the differences in the time of emergence and the nature of evolution, vocabulary and semantics, social functions, jazz and rock have many “common points”. The results of the research. Such features, of jazz and rock music, as improvisational nature, a variety of intonational sources that combine multinational and diverse trends are revealed and systematized as common points. Among the special features are distinguished such as the reliance of jazz mainly on the instrumental and rock music on a mixed vocal and instrumental basis; first is referring to “elitist”, second is referring to “mass”. Various syntheses are also common in jazz and rock music, as well as the correlation of composition and improvisation, performing and authorial principles. It is not so much about mutual influences and syntheses, but about the directions of evolution, the general nature of which is defined as the movement from “realistic” to “phenomenological” (A. Soloviev on the jazz paradigms). At its onset, rock music, like jazz, has been “embedded” in the system of the social and political movement, where its autonomous aesthetic function was not yet identified (youth movements of the 1960s, within which the corresponding “protest music” arose). In the process of mastering vocabulary specific to rock music as a phenomenon of the “third” layer, a new paradigm arose, characterized first as conventionally realistic, and then as conventionally autonomous, where rock music reaches the level of professional art in which laws and rules are established by its representatives themselves (this period begins from the Beatles and will continue further by their followers – “Rolling Stones”, “Led Zeppelin”, “Deep Purple” and other groups). It is noted that “people of rock” as well as “people of jazz” are a special social and communicative community, in which the idea of free communication is the main and determining one, where social, interpersonal, and actually musical factors intertwine. The unifying communicative factor in jazz and rock music is the art of improvisation, in which, in symbiosis, the processes of creating and performing music coexist spontaneously, but are subject to certain paradigm settings. It is emphasized that in the social context, jazz and rock differ in ethnic and age factors, which, however, is eventually overcome in modern global society through consolidation (convergence of African-American and European sources of jazz, transition of rock groups to a more general theme that differs from the original youth focus). It is also noted that rock music, unlike jazz, is too deeply connected with social factors and is always based on topical themes, generalized with varying degrees of artistry. Therefore, its degree of autonomy is much lower than that of elite jazz, which by the last decade of the 20th century had turned into the officially recognized salon art, or into a “conglomerate” consisting of pop elements of various kinds close to the aesthetics of the show industry. It is proved that the differences between jazz and rock music are most clearly manifested at the level of radical-and-phenomenal paradigm, which means plunging into the realm of banal “nothing”, where acts (but actually – does not act) the principle of “no wave” (A. Soloviev about jazz) . While jazz in the post-bop period developed towards elite art under the Free rubric, the extreme expression of which was spontaneous collective “impersonal” (lack of leadership, lack of frontman), the style of rock music developed in a different direction, the vector of which can be considered the opposite of jazz. Firstly, in the field of stylistics and language as its primary carrier, rock music meant a return to improvisational syncretism – a dramatic combination of poetry and music. Secondly, rock music is directly immersed, unlike elite jazz with its style of full linguistic freedom and collage, in the realm of relevant musical and poetic vocabulary, coming not from the rhetorical type of creativity (translating “artificial” into “new artificial”), but from the realities of the set of generally accessible linguistic means, which exists at a given historical moment (and in a certain “geography”). In the conclusions of the article, it is noted that rock music, even in its experimental radical and phenomenological manifestations, associated mainly with the sound realm (electronics, dynamics), remains, as a whole, the phenomenon of pop culture. This does not mean the absorption of rock art by the realm of mass consumerism. The best rock music pieces, which have already become classic, combine in reasonable proportions the “elite” (innovative) and “mass” (traditional), give a special rational embodiment of the idea of combining improvisation and composition – the “cornerstone” in the musical art of the entire “third” layer. The aesthetics and communication of rock music in its latest paradigms are differentiated according to the criteria of various stylistic inclinations – genre, national, regional, personal. Therefore, the study of modern rock music is the task of a number of separate studies devoted to specific issues of the problem, in particular, its main difference from jazz, namely, in the vocal and instrumental nature.
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Schroeder, D. "Re-reading Poetry: Schubert's Multiple Settings of Goethe. By Sterling Lambert." Music and Letters 92, no. 3 (July 21, 2011): 488–89. http://dx.doi.org/10.1093/ml/gcr030.
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Tilley, Janette. "LEARNING FROM LAZARUS: THE SEVENTEENTH-CENTURY LUTHERAN ART OF DYING." Early Music History 28 (August 24, 2009): 139–84. http://dx.doi.org/10.1017/s0261127909000345.
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The story of the Rich Man and Lazarus is the foundation upon which German composers of the seventeenth century experimented with longer musical forms. Composers interpolate new poetic material to a higher degree than with any other scriptural story, apart from the Passion. Additions to the story range from simple funeral songs for Lazarus to elaborate contrapuntal drinking songs for the Rich Man and his five brothers. We would expect the meaning imposed on the story in musical settings to be in line with local theology and exegesis. However, a close look at musical settings reveals how much they diverge from common theological explications. Onto the story of poverty, wealth, mercy and the fate of the soul are welded other topoi of Lutheran theology, including vanitas, penitence and the art of dying (Sterbekunst or ars moriendi), which effectively reinterpret the story in a direction not typically undertaken by writers of sermons and devotional volumes.
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Desmarais, Jane. "Late-Victorian Decadent Song Literature." Victorian Literature and Culture 49, no. 4 (2021): 689–710. http://dx.doi.org/10.1017/s1060150320000224.
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This article considers the Victorian and Edwardian vogue for setting late-Victorian decadent poetry to music. It examines the particular appeal of Ernest Dowson's and Arthur Symons's verse to the composers Cyril Scott and Frederick Delius, whose Songs of Sunset (1911) was regarded as the “quintessential expression of the fin-de-siècle spirit,” and discusses the contribution of women composers and musicians—particularly that of the Irish composer and translator Adela Maddison (1866–1929)—to the cross-continental tradition of decadent song literature and the musical legacy of decadence in the late-Victorian period and beyond.
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Lopatin, Mikhail. "‘Ut cantus consonet cum verbis’: transformations of sound and sense in Paolo da Firenze’s Lena, virtù e speranza." Early Music 48, no. 1 (February 2020): 3–11. http://dx.doi.org/10.1093/em/caaa001.
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Abstract This article explores the topos of transformation/metamorphosis and its role in creating unusually fluid and ambiguous scenarios of musico-textual behaviour in Trecento and Quattrocento song. Examining Paolo da Firenze’s ballata Lena, virtù e speranza, I show how transformation spreads from the surface level of specific poetic motifs and musical gestures to the very core of music’s relation to its text and text’s relation to its music. In this analysis, my goal is to follow the trajectory of one specific word (‘mutatio’) as it passes through various theoretical filters on its way from the textual to the musical medium (or back), creating new and often unexpected meanings realized in a musical setting.
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Zanovello, Giovanni. "‘You Will Take This Sacred Book’: The Musical Strambotto as a Learned Gift." Journal of the Royal Musical Association 141, no. 1 (2016): 1–26. http://dx.doi.org/10.1080/02690403.2016.1151230.
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AbstractThe MS Modena, Biblioteca Estense e Universitaria, α.F.9.9 is by far the most lavish collection produced in the short-lived history of the musical frottola. In its pages, unassuming four-voice secular settings are preceded by citations from Pliny and Isidore and surrounded by dazzling illuminations of birds, fruits and plants. If splendour is never amiss in gifts, one must wonder what the relationship was between the components of this intriguing artefact. In this article I investigate the gift value of the source by examining the musical repertory and style in conjunction with its other features. I propose that musical strambotti enabled fifteenth-century educated Italians to perform symbolic gestures associated with ancient music. The repertory was also perfectly congruous with the poetic and decorative choices made for the manuscript. The examination of this peculiar source helps shed more light on the musical strambotto, its uses and its implied cultural associations.