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1
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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3
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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5
Medieval liturgical chant and patristic exegesis: Words and music in the second-mode tracts. Woodbridge: Boydell Press, 2009.
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6
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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7
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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From words to music : a user's guide to text for choral musicians. GIA Publications, 2014.
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Abbott, Helen. Baudelaire’s Musical Contexts. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.003.0001.
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This chapter interrogates the ‘musical’ aspects of Baudelaire’s poetry, including the music that inspired Baudelaire, the technical properties of his poetic texts which might be considered music-like, and the different music genres within which his poems have been set. It sets out a typology of song, examining how categorizations shift, particularly around the perceived boundaries between popular and classical music (such as chanson or mélodie). It addresses how the language we use to describe poetry’s relationship with music relies on extensive interart analogies, and explores whether recent developments in cognitive neuroscience can enhance our understanding of the connections between words and music through the model of shared resources. The chapter closes by proposing that scrutinizing the role of listeners’ imaginative capabilities in response to musical settings of poetry affords us a fresh way to understand how and why we use shared language to talk about both poetry and music.
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Fairclough, Pauline. “We Should Not Sing of Heaven and Angels”. Edited by Patricia Hall. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.8.
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This chapter examines the changing ways in which Western sacred music was performed in concerts at major cultural centers in Russia during the period 1917–1964. It first considers early Soviet policy on Western sacred works including the repertoire of the Leningrad State Academic Capella, led by Mikhail Klimov who served as conductor and director from 1918 through 1935. The chapter goes on to assess the impact of both the Russian Association of Proletarian Musicians in the late 1920s and the effect of Stalinism in the 1930s and 40s. Finally, it comments on the preservation of part of Johann Sebastian Bach’s a capella legacy by setting the music to Soviet texts.
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Phillips, Tom, and Armand D'Angour, eds. Music, Text, and Culture in Ancient Greece. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794462.001.0001.
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This book explores the interaction between music and poetry in ancient Greece. Although scholars have long recognized the importance of music to ancient performance culture, little has been written on the specific effects that musical accompaniment and features such as rhythmical structure and melody would have created in individual poems. The chapters in the first half of the volume engage closely with the evidential and interpretative challenges that this issue poses, and propose original readings of a range of texts, including Homer, Pindar, and Euripides, as well as later poets such as Seikilos and Mesomedes. While they emphasize different formal features, they argue collectively for a two-way relationship between music and language. Attention to the musical features of poetic texts, insofar as we can reconstruct them, enables us to better understand not only their effects on audiences, but also the various ways in which they project and structure meaning. In part two, the focus shifts to ancient attempts to conceptualize interractions between words and music; the essays in this section analyse the contested place that music occupied in Plato, Aristotle, Plutarch, and other critical writers of the Hellenistic and Imperial periods. Thinking about music is shown to influence other domains of intellectual life, such as literary criticism, and to be vitally informed by ethical concerns.
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André, Naomi. Black Opera. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041921.001.0001.
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This is a book about thinking, interpreting, and writing about music in performance that incorporates how race, gender, sexuality, and nation help shape the analysis of opera today. Case-study operas are chosen within the diaspora of the United States and South Africa. Both countries had segregation policies that kept black performers and musicians out of opera. During the civil rights movement and after apartheid, black performers in both countries not only excelled in opera, they also began writing their own stories into the genre. Featured operas in this study span the Atlantic and bring together works performed in the West (the United States and Europe) and South Africa. Focal works are: From the Diary of Sally Hemings (William Bolcom and Sandra Seaton), Porgy and Bess, and Winnie: The Opera (Bongani Ndodana-Breen). A chapter is devoted to the nineteenth-century Carmens (novella by Mérimée and opera by Bizet) and black settings in the United States (Carmen Jones, Carmen: A Hip Hopera) and South Africa (U-Carmen eKhayelitsha). Woven within the discussions of specific works are three rubrics for how the text and music create the drama: Who is in the story? Who speaks? and Who is in the audience doing the interpreting? These questions, combined with a historical context that includes how a work also resonates in the present day, form the basis for an engaged musicological practice.
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Setting the Record Straight: The music and careers of recording artists from the 1950s and early 1960s . in their own words. AuthorHouse, 2007.
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McCarthy, Kerry. Tallis. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190635213.001.0001.
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The composer Thomas Tallis (ca. 1505–November 1585) lived and worked through much of the turbulent Tudor period in England. Unlike many of his contemporaries, he did not just react to radical change: he thrived on it. He helped invent new musical styles to meet the demands of the English Reformation. He revived and reimagined older musical forms for a new era. Fewer than a hundred of his works have survived, but they are incredibly diverse, from miniature settings of psalms and hymns to a monumental forty-voice motet. In this new biography, author Kerry McCarthy traces Tallis’s long career from his youthful appointment at Dover Priory to his years as a senior member of the Chapel Royal. Each chapter is focused on an original document of his life or his music. The book also takes readers on a guided journey down the Thames to the palaces, castles, and houses where Tallis made music for the four monarchs he served. It ends with reflections on Tallis’s will, his epitaph (whose complete text McCarthy has recently rediscovered), and other postmortem remembrances that give us a glimpse of his significant place in the sixteenth-century musical world. A companion website illustrates the book with a broad selection of sound samples from Tallis’s works.
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1859-1938, Wodell Frederick W., ed. Official text-book and programme of the Queen's jubilee musical festival at the Crystal Palace, Hamilton, Canada, June 21st and 22nd, 1887: Containing programmes of the concerts; words of the oratorios; descriptions of the oratorios; an historical account of the principal musical performances given in Hamilton; biographical sketches, with portraits of the conductors and soloisits ... F.H. Torrington, musical director. [Hamilton, Ont.?]: Hamilton Philharmonic Society, 1994.
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19
Bernstein, Zachary. Thinking In and About Music. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190949235.001.0001.
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Milton Babbitt (1916–2011) was, at once, one of the century’s foremost composers and a founder of American music theory. These two aspects of his creative life—“thinking in” and “thinking about” music, as he would put it—nourished each other. Theory and analysis inspired fresh compositional ideas, and compositional concerns focused theoretical and analytical inquiry. Accordingly, this book undertakes an excavation of the sources of his theorizing as a guide to analysis of his music. Babbitt’s idiosyncratic synthesis of ideas from Heinrich Schenker, analytic philosophy, and cognitive science—at least as much as more obviously relevant, and more frequently cited, predecessors such as Arnold Schoenberg—provide insight into his aesthetics and compositional technique. Examination of Babbitt’s newly available sketch materials sheds additional light on his procedures. But a close look at his music reveals a host of concerns unaccounted for in his theories, some of which seem to directly contradict theoretical expectations. New analytical models are needed to complement those suggested by Babbitt’s theories. Departing from the serial logic of Babbitt’s writings, his compositional procedures, and most previous work on the subject—and in an attempt to discuss Babbitt’s music as it is actually heard rather than just deciphered—the book brings to bear theories of gesture and embodiment, rhetoric, text setting, and temporality. The result is a richly multifaceted look at one of the twentieth century’s most fascinating musical minds.
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Shrock, Dennis. Igor Stravinsky – Mass. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469023.003.0010.
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This chapter begins with a survey of the vast amount of European choral music Stravinsky was exposed to in his youth and his fascination with the sounds of language in the Russian Orthodox Church. This is followed by a survey of the many modern-era Masses based on historic models as well as a survey of the many Stravinsky compositions so based. The music of the Mass is discussed in terms of its neo-Gothic and neo-Renaissance attributes and its mirror formal structures. Performance practice issues address the cubist-like setting of text and its close relationship to the text setting of Francis Poulenc, and Stravinsky’s unique motor-like rhythmic textures.
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Abbott, Helen. Baudelaire in Song. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.001.0001.
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Exploring the work of the major nineteenth-century French poet Charles Baudelaire (1821–67), this book examines how and why Baudelaire’s poetry has inspired so many composers to set it to music in different ways. The author proposes a new model for analysing song, through an ‘assemblage’ approach, which examines the complex relationships formed between common features of poetry and music, including metre/prosody, form/structure, sound properties/repetition, and semantics. The model also factors in the realities of song as a live performance genre, revealing which parameters of song emerge as standard for French text-setting and where composers diverge in their approach. The specific case studies that make up the second half of the book focus on Baudelaire song sets produced by European composers between 1880 and 1930, specifically Maurice Rollinat, Gustave Charpentier, Alexander Gretchaninov, Louis Vierne, and Alban Berg. Using this corpus, the assemblage model is tested to uncover new findings about what happens to Baudelaire’s poetry when it is set to music. Analysing Baudelaire’s poetry within song settings uncovers richer features of the texts that we might otherwise not see or hear. Examining each song setting in close detail confirms that there are no overt resonances between the types of poems selected for musical interpretation, just as there is no single, perfect ‘ideal’ setting of Baudelaire.
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Voutilainen, Atro. Part-of-Speech Tagging. Edited by Ruslan Mitkov. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199276349.013.0011.
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This article outlines the recently used methods for designing part-of-speech taggers; computer programs for assigning contextually appropriate grammatical descriptors to words in texts. It begins with the description of general architecture and task setting. It gives an overview of the history of tagging and describes the central approaches to tagging. These approaches are: taggers based on handwritten local rules, taggers based on n-grams automatically derived from text corpora, taggers based on hidden Markov models, taggers using automatically generated symbolic language models derived using methods from machine tagging, taggers based on handwritten global rules, and hybrid taggers, which combine the advantages of handwritten and automatically generated taggers. This article focuses on handwritten tagging rules. Well-tagged training corpora are a valuable resource for testing and improving language model. The text corpus reminds the grammarian about any oversight while designing a rule.
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Hardy, Thomas, and Margaret R. Higonnet. The Return of the Native. Edited by Simon Gatrell. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199537044.001.0001.
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‘To be loved to madness - such was her great desire’ Eustacia Vye criss-crosses the wild Egdon Heath, eager to experience life to the full in her quest for 'music, poetry, passion, war'. She marries Clym Yeobright, native of the heath, but his idealism frustrates her romantic ambitions and her discontent draws others into a tangled web of deceit and unhappiness. Early readers responded to Hardy's 'insatiably observant' descriptions of the heath, a setting that for D. H. Lawrence provided the 'real stuff of tragedy'. For modern readers, the tension between the mythic setting of the heath and the modernity of the characters challenges our freedom to shape the world as we wish; like Eustacia, we may not always be able to live our dreams. This edition has a critically established text based on the manuscript and first edition. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
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Parsons, Laurel, and Brenda Ravenscroft. Josephine Lang, “An einer Quelle” (1840/1853) and “Am Morgen” (1840). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190237028.003.0008.
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Among the approximately 300 songs of Josephine Lang (1815–1880), there are several instances of setting the same text to strikingly different music. This chapter discusses Lang’s contrasting settings of two poems by Reinhold Köstlin. Her three settings of “Wenn das Herz dir ist beklommen” (two composed in 1840, the third in 1853) exhibit similarities in vocal rhythm and in motivic structure, but differ in key, in accompaniment pattern, and, most obviously, in mood. The two settings of “Am Morgen” (composed three days apart in 1840) are in the same key and share certain patterns of line repetition, but diverge in tempo, accompaniment pattern, and mood. Documentary evidence provides some possible explanations for Lang’s changes in her approach to the poems.
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Abbott, Helen. Gustave Charpentier. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.003.0005.
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Known for his 1900 opera, Louise, Gustave Charpentier also published seven Baudelaire songs: four as a set called Les Fleurs du mal; three alongside settings of other poets in Poèmes chantés, a collection of sixteen songs. Charpentier’s Baudelaire songs stand out, and challenge their status as melodies, for their use of refrains for female mini-chorus. The analysis covers: the context of composition; the connections established between selected poems; the statistical data generated from the adhesion strength tests; and how the data shape an evaluation of Charpentier’s settings of Baudelaire. The findings reveal highly intermingled bonds between poem and music. Despite this close connection, the songs themselves are not always stable, creating an uncertain (sometimes dilutive, sometimes accretive) outcome. This indicates a composer attempting to develop new text-setting techniques, alongside an expansive aesthetic agenda informed by a social conscience, as he sought to open up musique savante to wider audiences.
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Abbott, Helen. Conclusions. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.003.0009.
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Baudelaire’s appearance in song is not a chance by-product of his reception history but an integral part of it. The 1880–1930 period covered in this book shows how Baudelaire’s poetry adapted to new musical soundscapes during an era of development in song forms across Europe. Not all agree that Baudelaire’s poetry is ‘well-suited’ to musical settings, but the reach of his poetry is extensive, and the varying levels of ‘success’ of each song confirm that song is predicated on impermanence. Baudelaire settings remain open to new interpretations and resist conformity of treatment. While there are commonalities around the extent of note-per-syllable writing, treatment of the e surnuméraire, and the setting of one musical phrase per poetic line, most features examined show limited correlation. All of the poems undergo some deformation, because composers need to prepare the surface of the text to enable their music to bond with it.
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Emerson, Caryl, George Pattison, and Randall A. Poole, eds. The Oxford Handbook of Russian Religious Thought. Oxford University Press, 2020. http://dx.doi.org/10.1093/oxfordhb/9780198796442.001.0001.
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The Oxford Handbook of Russian Religious Thought is an authoritative new reference and interpretive volume detailing the origins, development, and influence of one of the richest aspects of Russian cultural and intellectual life – its religious ideas. After setting the historical background and context, the Handbook follows the leading figures and movements in modern Russian religious thought through a period of immense historical upheavals, including seventy years of officially atheist communist rule and the growth of an exiled diaspora with, e.g., its journal The Way. Therefore the shape of Russian religious thought cannot be separated from long-running debates with nihilism and atheism. Important thinkers such as Losev and Bakhtin had to guard their words in an environment of religious persecution, whilst some views were shaped by prison experiences. Before the Soviet period, Russian national identity was closely linked with religion – linkages which again are being forged in the new Russia. Relevant in this connection are complex relationships with Judaism. In addition to religious thinkers such as Philaret, Chaadaev, Khomiakov, Kireevsky, Soloviev, Florensky, Bulgakov, Berdyaev, Shestov, Frank, Karsavin, and Alexander Men, the Handbook also looks at the role of religion in aesthetics, music, poetry, art, film, and the novelists Dostoevsky and Tolstoy. Ideas, institutions, and movements discussed include the Church academies, Slavophilism and Westernism, theosis, the name-glorifying (imiaslavie) controversy, the God-seekers and God-builders, Russian religious idealism and liberalism, and the Neopatristic school. Occultism is considered, as is the role of tradition and the influence of Russian religious thought in the West. The collection includes two responses from contemporary Russian academic and Church life.
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Gagliano, Marco da. Madrigals, Part 6. Edited by Edmond Strainchamps. A-R Editions, 2021. http://dx.doi.org/10.31022/b223.
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Il sesto libro de madrigali a cinque voci, Marco da Gagliano's final book in the genre, was published in 1617, nine years after its predecessor. In the book's dedication Gagliano indicated that its music was composed the year before, and not earlier in the gap between the two books. Book 6 was popular enough that it was reprinted in 1620, and although he lived another twenty-six years, Gagliano published no more madrigals. There are sixteen compositions in the book, fourteen of them by Gagliano, one by Lodovico Arrighetti, and one by an unnamed composer who was most certainly Ferdinando Gonzaga, duke of Mantua. The poets now recognized as authors of the texts are Giovanni Battista Guarini, Torquato Tasso, Francesco Petrarca, Ottavio Rinuccini, Gabriello Chiabrera, Gasparo Murtola, and Antonio Ongaro. In the diversity of their style, the madrigals of the Sesto libro provide a conspectus of the compositional craft evinced in Gagliano's earlier books: now the rush and brevity of canzonetta-influenced madrigals like those in the fourth and fifth books stand next to madrigals with the more traditional manner of text setting so often found in his first three books. There is also a drinking song that alternates duets with a refrain and a seven-voiced concertato piece, both taken from Medici court entertainments. One of the most telling madrigals in the book, “Filli, mentre ti bacio,” is an abbreviation and a recasting of the madrigal as it appears in his Primo libro, thereby disclosing the remarkable change in Gagliano's aesthetic thinking about the genre during the fifteen years that lie between his first and last books. Shortly after the appearance of the Sesto libro, a vicious attack on its madrigals and on Gagliano himself was made by Mutio Effrem. Although its condemnation of the book on theoretical grounds is misguided and without merit, Effrem's Censure seems to have damaged Gagliano's standing in Florence and to some degree may have influenced his decision to abandon the genre.