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Relevant bibliographies by topics / Words; Text setting; Music

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Academic literature on the topic 'Words; Text setting; Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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Journal articles on the topic "Words; Text setting; Music"

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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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Carter, Chandler. "The Rake's Progress and Stravinsky's Return: The Composer's Evolving Approach to Setting Text." Journal of the American Musicological Society 63, no. 3 (2010): 553–640. http://dx.doi.org/10.1525/jams.2010.63.3.553.

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Abstract Stravinsky has a deserved reputation for manipulating the sound of words, which, among other factors, has given rise to accusations of “antihumanism” against the composer and his music. However, close analysis of the opera The Rake's Progress (1948–51) shows that Stravinsky actually takes care to set the text intelligibly, and at certain moments, even expressively. By analyzing metric displacement and motivic development as it evolved from the composer's earlier neoclassical settings—including Oedipus Rex (1927), the Symphony of Psalms (1930), and Perséphone (1934)—through his first efforts at serial composition in the Cantata (1952), this article contextualizes the seemingly anomalous expressiveness in The Rake's Progress. Discovery of this evolution in his approach to setting text also entails a reassessment of the composer's aesthetic concerns.

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Rovner, Anton А. "Vocal and Choral Symphonies and Considerations on Text Representation in Music." ICONI, no. 2 (2020): 26–37. http://dx.doi.org/10.33779/2658-4824.2020.2.026-037.

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The article examines the genres of the vocal and the choral symphony in connection with the author’s vocal symphony Finland for soprano, tenor and orchestra set to Evgeny Baratynsky’s poem with the same title. It also discusses the issue of expression of the literary text in vocal music, as viewed by a number of influential 19th and 20th century composers, music theorists and artists. Among the greatest examples of the vocal symphony are Gustav Mahler’s Das Lied von der Erde and Alexander von Zemlinsky’s Lyrische Symphonie. These works combine in an organic way the features of the symphony and the song cycle. The genre of the choral symphony started with Beethoven’s Ninth Symphony and includes such works as Mendelssohn’s Second Symphony, Scriabin’s First Symphony and Mahler’s Second, Third and Eighth Symphonies. Both genres exemplify composers’ attempts to combine the most substantial genre of instrumental music embodying the composers’ philosophical worldviews with that of vocal music, which expresses the emotional content of the literary texts set to music. The issue of expressivity in music is further elaborated in examinations of various composers’ approaches to it. Wagner claimed that the purpose of music was to express the composers’ emotional experience and especially the literary texts set to music. Stravinsky expressed the view that music in its very essence is not meant to express emotions. He called for an emotionally detached approach to music and especially to text settings in vocal music. Schoenberg pointed towards a more introversive and abstract approach to musical expression and text setting in vocal music, renouncing outward depiction for the sake of inner expression. Similar attitudes to this position were held by painter Wassily Kandinsky and music theorist Theodor Adorno. The author views Schoenberg’s approach to be the most viable for 20th and early 21st century music.

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Wu, Yi-Cheng Daniel. "Webern's Op. 12, No. 2, Die geheimnisvolle Flöte: Text Setting, Form, and Pitch Orthography." Studia Musicologica 59, no. 3-4 (December 2018): 275–99. http://dx.doi.org/10.1556/6.2018.59.3-4.2.

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Abstract In tonal music, pitch orthography reflects different structural and functional meanings of notes in various contextual and textural settings such as harmony, melody, and voice leading. At the turn of the twentieth century, many composers attempt to progress beyond the confines of traditional tonality, whose works, as generally perceived by most analysts nowadays, treat the twelve chromatic notes as the twelve enharmonically equivalent pitch-classes and thus present “the dissolution of … [the] notational conventions of earlier times” (Gillies 1993, 43). Contrary to this general sentiment regarding orthography, the present paper brings the significance of pitch notation into sharper focus by investigating its crucial role in the course of the text setting and form in Webern's op. 12, no. 2. I will demonstrate how Webern utilizes orthography to reinforce the structure of the text and the narrative of form, assisting the analyst in considering notation as a core element while examining the pitch structure of the early twentieth-century music.

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Rees, Anthony. "A Father’s Lament Doubly Received: Robert Alter, Nigel Butterley, and David’s Lament for Absalom." Journal of the Bible and its Reception 5, no. 1 (September 25, 2018): 49–60. http://dx.doi.org/10.1515/jbr-2016-0030.

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Abstract David’s lament in 2 Sam 18:33, on hearing of Absalom’s death, has been an extremely popular text for composers to set to music. The traditional English language settings utilise a text that begins ‘When David Heard’, though these words are absent from the 1611 King James Bible, and the 1560 Geneva bible, and no other extant text supports this rendering. However, a cluster of some thirteen settings of the text in the seventeenth century which appropriated this translation established somewhat of a ‘tradition.’ Settings through to the twenty-first century have continued to utilise this text, with one prominent composer assuming that the textual tradition came from the King James Bible. However, Australian composer Nigel Butterley has produced a setting which makes use of Robert Alter’s translation of the David story. Rather than focus on the single verse, Butterley redacts four chapters of Alter’s translation into a comprehensible narrative, punctuated by the refrain ‘Beni Avshalom. Beni, veni Avshalom’ which appears three times, and the full lament which occurs on the last two occasions. This paper examines Butterley’s appropriation of Alter’s translation, and the musical vocabulary which is employed in conveying this deeply moving text. Interested as it is in issues of interpretation, it reveals Butterley as a both sensitive and powerful reader of scripture.

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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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HARRIS, ELLEN T. "Silence as Sound: Handel's Sublime Pauses." Journal of Musicology 22, no. 4 (2005): 521–58. http://dx.doi.org/10.1525/jm.2005.22.4.521.

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ABSTRACT The notated absence of sound creates some of the most dramatic and compelling moments in Handel's mature music. Handel's practice can be traced to the word-based silences of the madrigal on one hand, and the rhetorical silences found in Corelli's trio sonatas on the other. By transferring Corelli's systematic use of silence to vocal music, Handel moved beyond word-painting to expressive text-setting. Some critics condemned these silences, which prove strikingly similar to the emotional pauses introduced later by Garrick into his theatrical roles, as incorrect. Others considered them sublime.

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Bosnić, Amra. "Treatment of Text in Vocal Works by Bosnian and Herzegovinian Composers." English version, no. 10 (October 22, 2018): 38–53. http://dx.doi.org/10.51515/issn.2744-1261.2018.10.38.

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The paper discusses the half-century of composition in Bosnia and Herzegovina throughout the prism of musical setting to text phenomenon in vocal forms. In its focus are the solo song Pjesma u zoru by Milan Prebanda, Otvori u noć vrata by Vlado Milošević, Sappho by Nada Ludvig Pečar and The impact of the analogue synthesizer by Dino Rešidbegović. Analysis of the relationship between text and music in these works points out to the compositionaltechnical manner characteristic for these composers, generally marked by: Milošević consistently holds on to a text quantitative and qualitative characteristics, Prebanda raises melody above all the expressive characteristics, Ludvig Pečar holds to neoclassicist formal patterns, while Rešidbegović partly disposes the authority of vocal expressiveness to an interpretant.

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Atkinson, Thomas M., Kevin T. Liou, Michael A. Borten, Qing S. Li, Karen Popkin, Andrew Webb, Janice DeRito, Kathleen A. Lynch, and Jun J. Mao. "Association Between Music Therapy Techniques and Patient-Reported Moderate to Severe Fatigue in Hospitalized Adults With Cancer." JCO Oncology Practice 16, no. 12 (December 2020): e1553-e1557. http://dx.doi.org/10.1200/op.20.00096.

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PURPOSE: Cancer-related fatigue is a prevalent, debilitating symptom that contributes to increased health care utilization among hospitalized patients. Music therapy is a nonpharmacological intervention that uses active (eg, singing, selecting songs) and passive (eg, listening) techniques. Preliminary evidence from small trials suggests a potential benefit for cancer-related fatigue in the inpatient setting; however, it remains unclear which techniques are most effective. METHODS: A cross-sectional mixed-methods study was performed to compare cancer-related fatigue before and after active or passive music therapy. Cancer-related fatigue was captured via the Edmonton Symptom Assessment Scale fatigue item. Patients were asked to provide postsession free-text comments. RESULTS: A total of 436 patients (mean [standard deviation] age, 62.2 [13.4] years; n = 284 [65.1%] women; n = 294 [67.4%] white; active music therapy n = 360 [82.6%]; passive music therapy n = 76 [17.4%]) with a range of primary malignancies participated. Active music therapy was associated with a 0.88-point greater reduction in cancer-related fatigue (95% CI, 0.26 to 1.51; P = .006; Cohen’s D, 0.52) at postsession as compared with passive music therapy when restricting the analysis to patients who rated their baseline cancer-related fatigue as moderate to severe (ie, ≥ 4; n = 236 [54.1%]). Free-text responses confirmed higher frequencies of words describing positive affect/emotion among active music therapy participants. CONCLUSIONS: In a large sample of inpatient adults with diverse cancer disease types, active music therapy was associated with greater reduction in cancer-related fatigue and increased reporting of positive affect/emotions compared with passive music therapy. Additional research is warranted to determine the specific efficacy and underlying mechanisms of music therapy on cancer-related fatigue.

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Edwards, Warwick. "Phrasing in medieval song: perspectives from traditional music." Plainsong and Medieval Music 5, no. 1 (April 1996): 1–22. http://dx.doi.org/10.1017/s0961137100001042.

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During the course of a series of articles relating medieval Italian songs to oral and unwritten traditions, Nino Pirrotta comments on a peculiar anonymous two-voice setting from the fourteenth century whose verses seem to have been broken and shattered by the music. Word repetition ‘does not result in a more effective or more understandable rendition of the text; on the contrary, it so fragments and stutters it that any meaning is lost, except as a pretext for the melody which submerges it’. The song in question, Dolce lo mio drudo, is part of a group of unica with Calabrian associations found in the oldest layer of the Reina manuscript. Pirrotta transcribes the song in full and analyses the text and its cognates in detail. It is a ballata with irregularities. I quote in Example 1 just the refrain, together with an indication of the syllable count, in order to facilitate comparison with what follows.

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Dissertations / Theses on the topic "Words; Text setting; Music"

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King, Jonathan. "Texting in early fifteenth-century sacred polyphony." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321515.

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Hurd, James Alexander. "From a Peacock to Apocope: An Examination of Maurice Ravels Text Setting in the Histoires naturelles, LHeure espagnole and Other Pre-WWI Vocal Works." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1258478854.

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Banga, David Paul. "Arnold Schoenberg's approach to text setting in "The Book of the Hanging Gardens"." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ57083.pdf.

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Lyszczarz, Joseph E. "Among the Voices Voiceless: Setting the Words of Samuel Beckett." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011787/.

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Among the Voices Voiceless is a composition for flute (doubling piccolo), clarinet (doubling bass clarinet), viola, cello, percussion, piano, and electronics, based on the poem "What would I do without this world faceless incurious" by Samuel Beckett. The piece is a setting for disembodied voice: the vocal part exists solely in the electronics. Having no physical body, the voice is obscured as the point of empathy for the audience. In addition, instrumental solos compete for focus during the work's twenty minute duration. In passages including a soloist, the soloist functions simultaneously as antagonist and avatar to the disembodied voice. Spoken word recordings and electronic manipulation of instrumental material provides further layers of ambiguity. The companion critical essay "Among the Voices Voiceless": Setting the Words of Samuel Beckett proposes the distillation of Beckett's style into the elements of prosaicness, repetition, fragmentation, ambiguity, and symmetry. Discussions of Beckett's works such as Waiting for Godot and Molloy demonstrate these elements in his practice. This framework informs the examination of two other musical settings of Beckett's poetry: Neither by Morton Feldman and Odyssey by Roger Reynolds. Finally, these elements are used to analyze and elucidate the compositional decisions made in Among the Voices Voiceless.

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Langager, Graeme Michael Allyn. "Of Text and Tune: The Relationship Between Words and Music in the Choral Music of Gerald Finzi." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1155575211.

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Parsons, James. "Music and Words. Towards an Understanding of Text in the Finale of Beethoven's Choral Symphony." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37116.

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Viglianti, Raffaele. "Music and Words: Reconciling libretto and score editions in the digital medium." Allitera Verlag, 2016. https://slub.qucosa.de/id/qucosa%3A23357.

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Ku, Christopher Jun-Sheng. "'Aptlie framed for the dittie' : a study of setting sacred Latin texts to music in sixteenth-century England." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:8b7d80ad-6989-48f5-9d88-6987b656ef59.

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Although considerable attention has been paid to the texting practices of specific composers and certain repertoires, a comprehensive study of the practice of texting in the sacred Latin‐texted vocal works of sixteenth‐century England remains to be undertaken. How did English composers, scribes, and singers of the sixteenth century set words to music? Today, the general impression that emerges from critical apparatuses of modern performing editions, where manuscripts of vocal music copied by sixteenth-century English copyists are concerned, is negative: they are regarded as casual, often‐contradictory transmissions, replete with idiosyncrasies and arbitrary placement of text. But the detail in five hundred‐year‐old primary sources cannot and should not be so easily dismissed. Through a series of case studies drawn from the largest and most complete music manuscripts of English provenance that date from approximately 1500–90 — the Eton Choirbook, the Lambeth Choirbook, the Caius Choirbook, the ‘Forrest‐Heather’ Partbooks, the Peterhouse Partbooks (Henrician Set), the Sadler Partbooks, the Baldwin Partbooks, and the Dow Partbooks — this dissertation offers a fresh perspective on the many texting variants present in the sources, subjecting them to critical analysis to ascertain what prompted a scribe to copy a passage of music and its text in a particular way. Occasionally, a variant was indeed no more than a result of scribal error or inattention. More often than not, however, a scribe was either resolving an ambiguity that he perceived in his exemplar or deliberately infusing the copy with his own concepts of ideal texting. Three specific areas of interest are traced in the dissertation: the texting of long‐note cantus firmi, the treatment of melismata, and the relationship between music, prosody, and textual syntax. At the outset of the century, cantus firmus lines, as scribes copied them, required a certain amount of interpretation before they could be realised; melismata were an integral part of the compositional style that functioned as punctuation for the music; and textual coherence was unnecessary if it could not be achieved within the constraints of the music. By the close of the century, cantus firmus lines were copied literally with no additional interpretation required on the part of the performer; melismata were reduced to a purely decorative function; and textual integrity and correct prosody had become defining factors in how a piece of music was composed and formally organised. The specifics of what carried musicians from one extreme to the other in the interim is at the heart of this study. This dissertation is part of the growing body of research on the music of sixteenth‐century England. In enquiring into the minutiae of setting Latin text to music during this period, an area that heretofore has been relatively unexplored, it is hoped that this project will contribute to the total knowledge in the wider field of studies in text‐music relations.

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Rosser, Geraldine Metcalf. "Rules for setting of French text in the writings of Alexandre Etienne Choron (1771-1834) and his contemporaries." Columbus, Ohio : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5num=osu1064018314.

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Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains xiv, 272 p. : ill. Advisor: Burdette Green, School of Music. Includes bibliographical references (p. 251-272).

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Hoffman, Brian D. "Elements of the Musical Theater Style: 1950–2000." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307322562.

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Books on the topic "Words; Text setting; Music"

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1803-1869, Berlioz Hector, ed. Mosaic of the air: A setting to words of music by Hector Berlioz. Salzburg: University of Salzburg, 1997.

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Patterns in play: A model for text setting in the early French songs of Guillaume Dufay. Lincoln: University of Nebraska Press, 1999.

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Hornby, Emma. Medieval liturgical chant and patristic exegesis: Words and music in the second-mode tracts. Woodbridge: Boydell Press, 2009.

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Hornby, Emma. Medieval liturgical chant and patristic exegesis: Words and music in the second-mode tracts. Woodbridge: Boydell Press, 2009.

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Medieval liturgical chant and patristic exegesis: Words and music in the second-mode tracts. Woodbridge: Boydell Press, 2009.

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Fritz, Rebekka. Text and music in German operas of the 1920s: A study of the relationship between compositional style and text-setting in Richard Strauss' Die ägyptische Helena, Alban Berg's Wozzeck, and Arnold Schoenberg's Von heute auf morgen. Frankfurt am Main: Peter Lang, 1998.

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Talle, Andrew. Bach, Graupner, and the Rest of Their Contented Contemporaries. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038136.003.0003.

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Music scholars have long recognized the value of comparing settings of the same cantata texts by Bach and his German contemporaries. Examining the ways in which multiple musical minds chose to set the same words can throw the styles of each into sharp relief. This chapter presents a second pair of settings by Bach and Graupner that has received only occasional mention in the literature: Vergnügte Ruh, beliebte Seelenlust (BWV 170 and GWV 1147/11). The premieres of the two settings took place fifteen years apart; Graupner's setting was first heard on July 12, 1711, in Darmstadt, and Bach's on July 28, 1726, in Leipzig. The chapter discusses the two settings of each of Vergnügte Ruh's five movements in turn. In every case, it presents the text in three versions: (1) the original German, following the orthography and punctuation of Lehms' 1711 text; (2) the author's English, word-for-word translation; and (3) the author's English translation, which mimics the poetic structure and rhyme of Lehms' original.

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Zbikowski, Lawrence M. Music and Words. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190653637.003.0006.

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This chapter focuses on the different ways language and music construct meaning as revealed through the medium of song. The chapter focuses on the German Lied of the early nineteenth century, and it offers analyses of three settings of Goethe’s lyric poem “Über allen Gipfeln ist Ruh.” The first is an 1814 setting by Carl Friedrich Zelter; the second was written around 1816 by Carl Loewe; the third was completed sometime before 1824 by Franz Schubert. These analyses show how each setting changes the interpretation of Goethe’s poem, demonstrating how the different grammatical resources offered by music and language shape the way meaning is constructed in these songs.

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Randel, Don M. About Cole Porter’s Songs. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040092.003.0012.

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This chapter considers how the lyrics and music of Cole Porter songs might be thought of in relation to one another in essentially musical and poetic structural terms. The goal is to describe what the lyrics and the music sound like together rather than what they mean or express together. The analysis focuses on three songs: “Ev'ry Time We Say Goodbye, ” “You'd Be So Nice to Come Home To,” and “You'd Be So Easy to Love.” These three songs and others suggest that Porter entirely confounds the notion of a song as a setting of a text and that his songs compel us to think of words and music in terms of one another and on an equal footing. This sharply subordinates any notion of the music “expressing” the meaning of the words, and thus throws analysis back onto those features of music and words that are shared—things like rhythm, pitch, syntax, and sound in the sense that creates assonance and rhyme. In these terms, Porter's songs, while being cast often in some variation of a conventional form, have their own dramatic shapes and in sometimes quite intricate ways lead the listener along a purposeful progression from beginning to middle to end.

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Gagliano, Marco da. Madrigals, Part 4. Edited by Edmond Strainchamps. A-R Editions, 2021. http://dx.doi.org/10.31022/b221.

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Il quarto libro de madrigali a cinque voci, the fourth of six books of madrigals by the Florentine composer Marco da Gagliano, was published in 1606. The book is distinguished by the excellence of its music as well as by its varied settings of texts by some of the most celebrated poets of the day. Five of the madrigals use texts by Giovanni Battista Guarini, three by Giambattista Marino, one each by Gabriello Chiabrera, Cosimo Galletti, and Alsaldo Cebà, and a final two-part madrigal for six voices sets a sonnet by the great fourteenth-century poet Francesco Petrarca. In addition to fourteen madrigals by Gagliano, the book contains three by guest composers Luca Bati and Giovanni and Lorenzo Del Turco. Gagliano's madrigals in book 4, in contrast with those of his earlier books, are lighter and show the clear influence of the contemporary canzonetta, which is manifested in their brevity; the discrete sectioning of the music, frequently with concurrent rests in all the voices that separate the presentation of individual poetic lines; the omnipresent syllabic setting of words; and the simpler and shorter motives that are most often presented in a homophonic texture. In some of these madrigals, motives shaped by the melody and rhythm of spoken language might serve well in monodies. Indeed, in his magisterial study of the madrigal, Alfred Einstein went so far as to suggest that some of these madrigals have the effect of polyphonic, imitative arrangements of Florentine monodies.

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Book chapters on the topic "Words; Text setting; Music"

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Upton, Elizabeth Randell. "Aligning Words and Music: Scribal Procedures for the Placement of Text and Notes in the Chantilly Codex." In Epitome musical, 115–32. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.em-eb.3.2663.

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Dröse, Astrid, and Sara Springfeld. "Liedkultur des 17. Jahrhunderts als Übersetzungskultur." In Übersetzungskulturen der Frühen Neuzeit, 101–32. Berlin, Heidelberg: Springer Berlin Heidelberg, 2021. http://dx.doi.org/10.1007/978-3-662-62562-0_6.

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ZusammenfassungIn our paper we analyse translations of Italian and French songs into German from the late sixteenth to the mid-seventeenth century. The methods of translation employed range from a narrow focus on the words and music of the original song to free variation. Analysing the bimedial relationship of words and music is the principal focus of our study. We ask: What consequences does a translation have for the text-sound relationship? In the first part of the study, we develop a heuristic methodology that describes this phenomenon while taking into account the cultural context of each translation. In the second part, we put this model to the test by examining a prominent song collection: Heinrich Albert’s Arien oder Melodeyen (Königsberg, 1638–1650), which contains a large number of as yet unidentified French and Italian originals. Two case studies on the translation of an Air de Cour and an Italian aria, as well as reflections on the digital accessibility of song translation, conclude the paper.

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Jones, Bethan. "Lawrence Set to Music." In The Edinburgh Companion to D. H. Lawrence and the Arts, 398–412. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456623.003.0027.

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This chapter considers a number of ways in which musical composers have engaged with and assimilated Lawrence’s poetry (as well as some of his other works and, indeed, his life story), over a 100-year period. Foregrounding texts selected for musical setting, the chapter begins with an analysis of sound, silence, rhythm, repetition and movement in Lawrence’s verse. Subsequently, it explores the various strategies adopted by composers when setting these poems to music. Some create a song from a single poem; some compose song-cycles by combining poems from within a single collection, such as Birds, Beasts and Flowers. Others juxtapose poems from across a range of Lawrence’s verse-books – or combine Lawrence poems with those of other poets. This chapter explores the implications of such choices, offering analyses of musical compositions in which words and sounds have been creatively combined. Composers discussed include Peter Warlock, Benjamin Britten and Arnold Cooke, alongside a number of lesser-known contemporary figures, whose works (spanning a number of genres) bring Lawrence to a new generation.

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Hefling, Charles. "The Prayer Book Sung." In The Book of Common Prayer: A Guide, 285–306. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190689681.003.0013.

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The Book of Common Prayer makes explicit provision for some of its words to be either “sung or said.” Vocal music, choral or congregational, has been a feature of Prayer Book services from the first. The original version of the text was set to music in 1550 by John Marbeck; since then, a tradition of “parochial music” has augmented Divine Service with metrical paraphrases of the Psalms, while “cathedral music” has developed a unique form of recitation known as Anglican chant, together with a genre of musical settings for choirs of the canticles at Morning and Evening Prayer.

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Manning, Jane. "DARON HAGEN (b. 1961)Muldoon Songs (1989 and 1992)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 111–14. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0032.

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This chapter explores the Muldoon Songs by Daron Hagen. This succinct, appealing cycle comes from a generous, attractively presented volume, replete with notes by both the composer and Paul Sperry, who has done so much for contemporary art song. This cycle consists of seven contrasting songs; the third and fourth mere fragments. The sixth was added last, at the request of Paul Sperry, who commissioned the piece. Much of the intriguingly acerbic text is set straightforwardly. Through this cycle, Hagen shows a masterly grasp of the voice–piano idiom, along with a love of words, and a refined instinct for setting them. His writing seems unfettered and entirely natural, encompassing an exceptionally wide range of styles with unerring craftsmanship and sometimes deceptive simplicity. Indeed, as this chapter shows, the music breathes freely, maintaining elasticity and rhythmic verve.

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Scott, Derek B. "Mimesis, Gesture, and Parody in Musical Word-setting." In Words and Music, 10–27. Liverpool University Press, 2005. http://dx.doi.org/10.5949/liverpool/9780853236191.003.0002.

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Scott, Derek B. "Mimesis, Gesture, and Parody in Musical Word-setting." In Words and Music, 10–27. Liverpool University Press, 2005. http://dx.doi.org/10.2307/j.ctt5vjm57.5.

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Sharma, Bhesham. "Music and Text in Schoenberg's A Survivor from Warsaw." In Words and Music, 150–60. Liverpool University Press, 2005. http://dx.doi.org/10.5949/liverpool/9780853236191.003.0007.

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Sharma, Bhesham. "Music and Text in Schoenberg’s A Survivor from Warsaw." In Words and Music, 150–60. Liverpool University Press, 2005. http://dx.doi.org/10.2307/j.ctt5vjm57.10.

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Manning, Jane. "HUW WATKINS (b. 1976)Three Auden Songs (2008)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 223–25. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0069.

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This chapter explores Welsh composer Huw Watkins’s Three Auden Songs (2008). Written for the flexible high-lying voice of the tenor Mark Padmore, these three settings of W. H. Auden constitute an attractive and well-varied cycle which will sit well amongst more established pieces, and should prove a valuable addition to the tenor repertoire. It was commissioned by the Théâtre Royale de la Monnaie in Brussels. The musical language is chromatic, quasi-tonal, and highly accessible, and, as to be expected, the composer’s writing for piano is idiomatic, achieving a distinctive character for each song. Vocal lines are rewardingly lyrical and words are set with care for clarity and ease of attack. The music is phrased naturally to match the flow of the text, so the singer should have no difficulty in planning breaths. The ability to launch and sustain an even tone will be shown to full advantage.

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Conference papers on the topic "Words; Text setting; Music"

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Dalmora, André, and Tiago Tavares. "Identifying Narrative Contexts in Brazilian Popular Music Lyrics Using Sparse Topic Models: A Comparison Between Human-Based and Machine-Based Classification." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10417.

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Music lyrics can convey a great part of the meaning in popular songs. Such meaning is important for humans to understand songs as related to typical narratives, such as romantic interests or life stories. This understanding is part of affective aspects that can be used to choose songs to play in particular situations. This paper analyzes the effectiveness of using text mining tools to classify lyrics according to their narrative contexts. For such, we used a vote-based dataset and several machine learning algorithms. Also, we compared the classification results to that of a typical human. Last, we compare the problems of identifying narrative contexts and of identifying lyric valence. Our results indicate that narrative contexts can be identified more consistently than valence. Also, we show that human-based classification typically do not reach a high accuracy, which suggests an upper bound for automatic classification. narrative contexts. For such, we built a dataset containing Brazilian popular music lyrics which were raters voted online according to its context and valence. We approached the problem using a machine learning pipeline in which lyrics are projected into a vector space and then classified using general-purpose algorithms. We experimented with document representations based on sparse topic models [11, 12, 13, 14], which aims to find groups of words that typically appear together in the dataset. Also, we extracted part-of-speech tags for each lyric and used their histogram as features in the classification process.

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Vedula, Nikhita, Nedim Lipka, Pranav Maneriker, and Srinivasan Parthasarathy. "Open Intent Extraction from Natural Language Interactions (Extended Abstract)." In Thirtieth International Joint Conference on Artificial Intelligence {IJCAI-21}. California: International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/ijcai.2021/663.

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Accurately discovering user intents from their written or spoken language plays a critical role in natural language understanding and automated dialog response. Most existing research models this as a classification task with a single intent label per utterance. Going beyond this formulation, we define and investigate a new problem of open intent discovery. It involves discovering one or more generic intent types from text utterances, that may not have been encountered during training. We propose a novel, domain-agnostic approach, OPINE, which formulates the problem as a sequence tagging task in an open-world setting. It employs a CRF on top of a bidirectional LSTM to extract intents in a consistent format, subject to constraints among intent tag labels. We apply multi-headed self-attention and adversarial training to effectively learn dependencies between distant words, and robustly adapt our model across varying domains. We also curate and release an intent-annotated dataset of 25K real-life utterances spanning diverse domains. Extensive experiments show that OPINE outperforms state-of-art baselines by 5-15% F1 score.

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Reports on the topic "Words; Text setting; Music"

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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.

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