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Smolskaitė, Giedrė. "Musicalization of Literature: Kostas Ostrauskas’s The Quartet". Semiotika 13 (20 de diciembre de 2017): 57–76. http://dx.doi.org/10.15388/semiotika.2017.16725.
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In works of literature, music can be found in the form of score fragments, notation symbols, song lyrics, musicological terminology, acoustic aspects of speech, musicians as characters, etc. Such manifestations connect two systems of signification and create an intermedial dialogue between music and literature, which requires a specific methodological approach. According to the intermediality theoretician Werner Wolf, “[t]he verbal text appears to be or become [...] similar to music, or to effects connected with certain compositions, and we get the impression of experiencing music ‘through’ the text”26. This paper discusses possible forms of a musico-literary relationship, the effects they produce, and examples of musicalization found in Kostas Ostrauskas’s play The Quartet (1969). In this play, the musico-literary dialogue is developed on different levels: structure and story, the twofold nature of the characters, intertextuality. Analysis of the play’s architextual relationship with the medium of music helps to identify the specific, musico-literary genre of this play. This unusual genre is defined not only by the content of The Quartet but also by its expression, i.e. graphic nuances, inserted imagery, etc. As shown by the analysis, the play could be understood as a metonymy of the history of both contemporary music and dramatic literature.
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Shapiro, Michael J. "Genres of Nationhood: The ''Musico-Literary'' Aesthetics of Attachment and Resistance". Strategies: Journal of Theory, Culture & Politics 13, n.º 2 (noviembre de 2000): 141–61. http://dx.doi.org/10.1080/104021300750022571.
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Daverio, John. ": The Tuning of the Word: The Musico-Literary Poetics of the Symbolist Movement . David Michael Hertz." 19th-Century Music 13, n.º 3 (abril de 1990): 257–61. http://dx.doi.org/10.1525/ncm.1990.13.3.02a00070.
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von Ammon, Frieder. "nr="68"Konkurrenten in musicis. : Thomas Mann, Arthur Schnitzler und Robert Musil im Wettstreit um die ,,heilige Kunst“". Zeitschrift für Germanistik 31, n.º 2 (1 de enero de 2021): 68–82. http://dx.doi.org/10.3726/92169_68.
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Abstract Der Beitrag geht der Frage nach, wie die Intensität der musikliterarischen Intermedialität in der deutschsprachigen Erzählliteratur der Moderne erklärt werden kann. Eine zentrale Rolle spielen dabei die Musikbezüge und insbesondere die Musikbeschreibungen in den Texten Thomas Manns, mit denen sich andere Autoren in der Folge auseinanderzusetzen hatten. Dabei ist eine produktive Konkurrenzsituation entstanden, die im Beitrag anhand von Texten Manns, Schnitzlers und Musils untersucht wird.The present contribution asks how the intensity of musico-literary intermediality in narrative texts of German modernism can be explained. Crucial are the references to and descriptions of music in the texts of Thomas Mann which other authors had to face. The result was a specific competitive situation with productive potential. It is examined on the basis of texts by Mann, Schnitzler, and Musil.
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Knox, Katelyn. "The 7th Lawrence R. Schehr Memorial Award Winning Essay". Contemporary French Civilization: Volume 46, Issue 1 46, n.º 1 (1 de marzo de 2021): 1–25. http://dx.doi.org/10.3828/cfc.2021.1.
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Popular music abounds in Afropean literature, yet to date scholars have primarily read novels’ musical elements through author biography. In this article, I focus narrowly on the rich musical peritexts and musico-literary intermediality of two novels by Insa Sané: Du plomb dans le crâne (2008) and Daddy est mort…: Retour à Sarcelles (2010). In addition to the abundant diegetic musical references, both novels also feature two structural musical layers. I argue that these three musical elements constitute critical sites through which the novels’ narratives, which center around young, black, male protagonists who seek to escape vicious circles of violence through recognition, emerge. Ultimately, these novels’ musical elements situate the narratives’ discussions of black masculinity within much broader conversations transpiring between French and African American communities, thereby providing a much larger cultural genealogy to supplement the characters’ fraught literal ones.
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Udoh, Isaac E. "The ethos and pathos of traditional music: The Annang experience". Journal of the Association of Nigerian Musicologists 16, n.º 1 (22 de agosto de 2022): 77–88. http://dx.doi.org/10.4314/janm.v16i1.6.
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The traditional music of the Annang of Nigeria is a product of the people’s cultural beliefs, codes, and mores. It represents a model of the philosophy of the Annang communities encapsulating their social and cultural inclinations. This musico-cultural ethos, when identified as pre-colonial (as it has always been), presupposes that cultural changes and modernity have impacted and disrupted these pristine or near-pristine ways of life. What then is left of traditional music? How do they survive amidst dominating genres of foreign descent? This paper examines how cultural changes have disadvantaged the traditional music of the Annang people. The study employs an analytical approach to textual music with other extant literary materials. The paper argues that traditional music will soon become extinct unless the interest in musical revival and sustainability engages identity conventions. It concludes that a conscious attempt at pathos (compassion and sympathy) should be made using modern modes of musical creativity, such as composition, songwriting and modern technology devices.
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Agbenyo, Samuel. "‘Empfindsamer Stil’ And Its Literary Connections: A Cue To Music Instruction". British Journal of Contemporary Education 1, n.º 1 (30 de diciembre de 2021): 109–19. http://dx.doi.org/10.52589/bjce-lnpbmki0.
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Empfindsamer Stil is a German expression whose meaning has historically been debated as either a “human emotional disposition” or “a musical style”. This descriptive bibliographic study seeks to investigate the historical development of Empfindsamer Stil, its application in musical contexts, as well as its nexus with literacy works, to inform music instruction. Given the COVID-19 pandemic research environment, most of the data were collected virtually and reported thematically. Findings indicate that Empfindsamer Stil is characterized by an emphasis on the expression of a variety of deeply felt emotions within a musical work, with Carl Philipp Emanuel Bach being the principal exponent. The study also reveals that historians of philosophy across time failed to agree on the meaning of the term Empfindsamer Stil. It was therefore concluded that language is dynamic and evolving. Music educators must ensure to explore the history-contextual significance of musical terminologies, especially those that may be alien within the specific musico-cultural milieu of the learner. Also, in teaching, applying, and assessing lessons involving terminologies, music teachers must take a cue from specific historical epochs and cultures to maximize relevance and fairness. Future studies in music history, in correlation with modern psychology and literary works, will therefore help clarify further whether the term Empfindsamer Stil is best explained as a phenomenon of human emotional disposition or a musical style. Also, more research will better explain the interdependent coexistence of music and various literary works.
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Niskanen, Lauri A. y Arianna Autieri. "The Geno-song and Pheno-song of the "Sirens": The Finnish, Swedish, and Italian (Re)Translations of the Musical Prose of "Sirens"". James Joyce Quarterly 61, n.º 3-4 (marzo de 2024): 277–98. http://dx.doi.org/10.1353/jjq.2024.a941498.
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ABSTRACT: The challenge in any translation, but especially in translations of Joyce and of Ulysses , is that a work of art is never one voice, one utterance, but is built upon an entire literary tradition in the postmodern intertextual process. In this essay, we focus on the case of "Sirens," an episode in which the undertone of the textual surface is not only literary tradition but, intermedially, the forms, signifiers, and experience of music. In the thinking of Roland Barthes, a musical text, or writing aloud, includes phenotext, the regular mode of communication, and genotext, which refers, without denotation, directly to the body. This, according to Barthes, causes friction, the grain of the voice. In this essay, we examine how (re)translations of "Sirens" into Swedish, Italian, and Finnish recreate this friction in their respective literary horizons, through their different linguistic possibilities. We find that, in their performances of the geno-song and pheno-song of the musico-literary intermediality of Joyce's "Sirens," the Swedish, Italian, and Finnish translators either stop to explicate the symbolic in the mode of pheno-song or convey the semiotic in the legato line of geno-song, but rarely are they able to include both and convey the grain of "Sirens." Our contention is that "Sirens" should not be reduced to symbolic denotation, but that the musical aspect of the episode should also not be emphasized in an overly analytic, formal way. Through examples of i) verbal music, ii) fragmented polyphony, and iii) microstructural analogies to music, we argue that the target-text reader should hear the grain of fictive language against the musical voice.
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Maurey, Yossi. "A COURTLY LOVER AND AN EARTHLY KNIGHT TURNED SOLDIERS OF CHRIST IN MACHAUT'S MOTET 5". Early Music History 24 (14 de julio de 2005): 169–211. http://dx.doi.org/10.1017/s0261127905000082.
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The tenor occupies a special role in vernacular motets of the thirteenth and fourteenth centuries: not only does it underpin the melodies of the upper voices contrapuntally, it also provides intellectual and interpretative undergirding for the texts of these pieces. The biblical or liturgical context of a tenor, drawing on well-understood exegetical and literary traditions, often facilitates an allegorical reading of the upper voices, and vice versa. Because of the foundational nature of the tenor within the Ars nova motet in particular, the identification of the exact musico-liturgical sources of this voice, where possible, is of special significance. While the origins of most of Machaut's twenty-one Latin tenors have been identified, the tenor of one work, Motet 5 (Aucune gent/Qui plus aimme/ T. Fiat voluntas tua, hereafter M5), is alleged to have a most unusual source. I offer new observations about the tenor of M5 that emphasise certain compositional procedures congruent with Machaut's practice in writing his motets and may tie together the various secular and sacred references in the piece.
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Cury, Maria Zilda Ferreira y Guilherme Augusto Lopes de Souza. "Entre modulações musicais e literárias: O inverno e depois, de Luiz Antonio de Assis Brasil". Navegações 11, n.º 1 (30 de diciembre de 2018): 3. http://dx.doi.org/10.15448/1983-4276.2018.1.33012.
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O inverno e depois, romance de Luiz Antonio de Assis Brasil, exibe uma articulada reflexão acerca da música clássica e da vida de artista, assim como os desafios dos musicistas de traduzir, por meio de sua arte, os sentimentos que as palavras não expressam. À vista disso, pretende-se fazer uma leitura do romance a partir das teorias dos estudos músico-literários, evidenciando as influências do Concerto para violoncelo e orquestra, de Antonín Dvořák – peça chave do romance – na narrativa de Assis Brasil, tanto no plano estrutural, como no plano de seu conteúdo. *** Between literary and musical modulations: O inverno e depois, by Luiz Antonio de Assis Brasil ***O inverno e depois, a novel written by Luiz Antonio de Assis Brasil, exposes an articulated reflection on classical music and the artist’s life, as well as the challenges of the musicians to translate, through their art, the feelings that words do not express itself. In this way, we intend to make a reading of the novel from the theoretical aspects of word and music studies, revealing the influences of the Concerto for violoncello and Orchestra, by Antonín Dvořák – key factor for the novel –, in the Assis Brasil’s narrative, both in the structural plane and in the plane of its content.Keywords: Contemporary brazilian literature; Luiz Antonio de Assis Brasil; Literature and music; Intermidiality; Musico-literary studies.
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Smolskaitė, Giedrė. "Reading With Attuned Ears: Music in the Plays of Kostas Ostrauskas". Colloquia 40 (25 de junio de 2018): 92–110. http://dx.doi.org/10.51554/col.2018.28689.
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The author of this article surveys and systematises the many manifestations of music in the texts of Lithuanian playwright and pioneer of absurdist and postmodern drama, Kostas Ostrauskas (1926–2012). Ostrauskas’s drama talks about music and cites it, turns famous figures of the music world into characters and the reader into an active performer, forcing the audience to see (and “hear”) music in various shapes and forms.To explore this dynamics, the author of the article draws on the classification of musico-literary connections developed by intermediality theorist Werner Wolf, which was in turn based on Steven Paul Scher’s triadic typology: a) music and literature; b) literature in music; and c) music in literature.The references to music that can be found in Ostrauskas’s works “illustrate” all of the variations and forms of the interplay between literature and music outlined by Wolf and Scher. The reader of Ostrauskas’s plays is invited to adopt an attitude more active than usual: emphasis is primarily on the plane of expression, as the plays are oriented towards the active reader-performer’s eyes and “ears” (presentation, visuality, plasticity). The systematisation of the connections between music and literature makes it possible to argue that Ostrauskas’s drama examines questions related to the specifics of both media.
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Kim, Minji. "From Milton to Hamilton and Handel". Journal of Musicology 40, n.º 1 (1 de enero de 2023): 34–72. http://dx.doi.org/10.1525/jm.2023.40.1.34.
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In Handel’s oratorio Samson (1742), the aria “Total eclipse” compares Samson’s blindness, inflicted by the enemy’s gouging out of his eyes, to darkness during the total solar eclipse. The librettist Newburgh Hamilton drew the astronomical metaphor as well as the majority of his text for the oratorio from John Milton’s closet drama Samson Agonistes (1671). With respect to scientific knowledge on the eclipses, however, the two works are from very different eras. Examining changing perspectives on eclipses in Britain from the seventeenth to the eighteenth century provides a hitherto unexplored historical context for recognizing the difference in their metaphorical treatments of the phenomenon. It brings to the fore Hamilton’s portrayal of Samson’s sense of divine judgment in his blindness and presents a new textual basis for understanding Handel’s musical setting. The aria reveals the composer’s careful consideration in his choice of key and use of enharmonicism to convey Samson’s apprehension. Studying Handel’s musical language in the context of eighteenth-century music theory and in comparison to other movements in Samson and his earlier works offers deeper insight into his dramatic purpose. This article explores the history of eclipse science, the literary and biblical background to the libretto, and Handel’s compositional technique. It shows their deep interconnection in depicting Samson’s pathos, offering a new perspective not only on the aria and its impact on the rest of the oratorio but also on the contribution of Samson to mid-eighteenth-century musico-dramatic style.
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O’Rourke, Russell. "Armida on the Beach: A Cinquecento Rhetorical Model of the Emotions and Its Musical Reception". Journal of the American Musicological Society 76, n.º 3 (2023): 587–644. http://dx.doi.org/10.1525/jams.2023.76.3.587.
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Abstract For music to arouse the emotions, observes the sixteenth-century Venetian music theorist Gioseffo Zarlino, four ingredients are required: harmony, rhythm, text, and “a well-disposed subject [soggetto ben disposto] fit to receive some emotion [passione].” The last point—that listeners must be properly “disposed” toward an emotion before they can be moved—features in contemporaneous writings as diverse as Torquato Tasso’s epic Gerusalemme liberata (1581) and Bartolomeo Cavalcanti’s manual on oratory La retorica (1558). The present article unveils this neglected aspect of Cinquecento theories of music and emotion and explores its relevance to the Italian madrigal. Specifically, I propose the importance to sixteenth-century conversations about music and the affetti of what I call the two-stage model of emotional arousal, a paradigm according to which the onset of emotion in any listener takes place in two phases: first, a subtle inclination toward a given emotion; and second, the true “movement” of the soul that constitutes the emotion itself. Hitherto unidentified in both musicology and the humanities in general, this model stems, I show, from the ancient rhetorical tradition, with Aristotle’s Rhetoric its probable fons et origo. After tracing the model’s influence across a corpus of literary and theoretical texts, I study its implications for musical analysis in a madrigal cycle by Giaches de Wert on stanzas by Tasso: “Vezzosi augelli,” “Qual musico gentil,” and “Forsennata gridava,” all from the composer’s Ottavo libro de madrigali (1586). This case study invites reconsideration of staple text-setting devices of the genre, including declamatory homophony and the madrigalism.
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Frey, Emily. "Boris Godunov and the Terrorist". Journal of the American Musicological Society 70, n.º 1 (2017): 129–69. http://dx.doi.org/10.1525/jams.2017.70.1.129.
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This article considers Musorgsky's opera Boris Godunov in light of the outbreak of political violence in Russia during the 1860s and 1870s. Attempting to make sense of Dmitry Karakozov's ideologically motivated attack on Alexander II in 1866, Russians sought parallels in literature—where authors such as Dostoevsky and Turgenev had begun to explore the psychology of ideological commitment—and in history, the Time of Troubles (1598–1613) serving as a particularly salient point of reference. Boris Godunov, on which Musorgsky began work in 1868, brought these two strands together: set during the Time of Troubles, the opera features the upstart Pretender Dmitry, a historical figure in whom some writers found an ancestor of the modern political terrorist. But Musorgsky's treatment of the Pretender character diverges sharply in his two versions of Boris Godunov, suggesting shifting ideas about the role of this figure both in the opera and in history. Musorgsky's first attempt at the character produced a Pretender every inch the undeterrable “new man” of Russian literature; evincing little subjectivity beyond his obsession with his cause, the Pretender of 1869 escapes out a tavern window in act 2 and exists thereafter only as a musico-dramatic idea. In Musorgsky's 1872 revision of the opera, however, the Pretender pops up again in Poland, where both his self-determination and his dogged recitative style are easily bowled over by Marina Mnishek's triple-metered tunefulness. Like Ratmir in Ruslan and Liudmila's enchanted garden, this Pretender forgets his cause—but participates in the opera's most ravishing music. Drawing on a wide swath of literary and historical writings, this article explores Musorgsky's participation in an urgent contemporary discussion about the personal ramifications of absolute commitment to an idea and the limits of individual agency.
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Gon, Oleksandr. "PINK FLOYD’S «THE RED VIBURNUM IN THE MEADOW»: A NOVEL IN THE SCORE". CONTEMPORARY LITERARY STUDIES, n.º 20 (20 de diciembre de 2023): 23–29. http://dx.doi.org/10.32589/2411-3883.20.2023.293536.
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The paper explores the design and structure of Pink Floyd’s single «Hey Hey Rise Up» in terms of a patterned plot in a work of fiction. The music and video of the single are contextualized in the field of comparative studies and problematized as a feasible intersemiotic approach to musical narrativity. The introduction by the folk choir in the video functions as the exposition to the main theme, and its break on D-sharp with the fermata functions as the tense suspense in a frustrated anticipation of the resolution into the tonic of C-sharp minor. Following a two-beat rest, the dignified drums propel the syntax of the story of Ukraine’s heroic resistance against the Russian aggression into the structured artistic plot. Based on the pentatonic scale, David Gilmour’s guitar solo emblematizes other components of both literal and literary dramatic conflict: the highest notes represent the semanticized rising action leading to a “blue note” of F double-sharp that signifies the tension and climax in the musical plot. Gilmore’s musico-teleological tale ends with a descending scale that seems to be the equivalent to the falling action in drama, and finally resolves into a half, rather than full, cadence in G-sharp as if to suggest an open, brighter and victorious finale of yet-to-come resolution of the Russia-Ukraine war. A close musicological reading of the functioning of the harmonic sequences of cadences and the specifics of voice leading in the single reveals the musical artistic means of generating deep meanings and emotional understanding of history. Interpreted through the prism of intersemiotic scheme as emplotmet, the musical narrative has the attributes of a literary work - the beginning, development and suspense of the action, climax of dramatic conflict and its denouement. The paradigmatic affinity of narrative techniques in fiction and music brings new urgency to such fundamental ideas as Borgesian four invariant stories, which are recycled in various historical and ideological guises, or Bakhtinian distinction between the epic and the novel as a territory of encounter with the unfinished present, which expands the optics of reading the dynamics of consonant and dissonant intervals in the blues scale, and turns the music score into a novel. And vice versa: the function of the blue note in the pentatonic, bright and perfectly consonant five-step system without chromaticism, compels us to revisit Nietzsche and his philosophico-musical revelation about the interdependence of Apollo and Dionysus.
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Donelan, J. H. "JESSICA K. QUILLIN. Shelley and the Musico-Poetics of Romanticism." Review of English Studies 64, n.º 267 (5 de abril de 2013): 902–3. http://dx.doi.org/10.1093/res/hgt007.
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West, Sally. "Jessica K. Quillin,Shelley and the Musico-Poetics of Romanticism." Notes and Queries 63, n.º 2 (11 de abril de 2016): 315–16. http://dx.doi.org/10.1093/notesj/gjw031.
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Faivre Dupaigre, Anne. "À l'écoute des poètes-musiciens : une pratique d'analyse musico-littéraire à l'épreuve des textes". Revue de littérature comparée 308, n.º 4 (2003): 483. http://dx.doi.org/10.3917/rlc.308.0483.
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Baez-Ortega, Adrian. "From Night to Light: Harmony as Allegory in Die Zauberflöte". Journal of Austrian Studies 56, n.º 3 (septiembre de 2023): 1–33. http://dx.doi.org/10.1353/oas.2023.a906957.
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Abstract: Mozart's final opera, Die Zauberflöte , wields visual and musical metaphor to deliver possibly the most effective allegory of Enlightenment themes ever achieved in Austrian art. Supported by a systematic tonal analysis, this article reviews, integrates and expands upon decades of scholarly research on this opera, with a strict focus on the thematic symbolism of its harmonic elements. By unifying disparate sources and providing an independent overview of tonality throughout the two acts of Die Zauberflöte , this study aims to foment subtler appreciation of Mozart's application of harmonic contrasts. Special attention is devoted to the manner in which the symbolic meaning of such contrasts evolves together with the opera's dominant themes, to build a formidable musico-dramatic metaphor of a fundamental narrative of European Enlightenment—the philosophical struggle of reason against ignorance.
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Harrán, Don. "Elegance as a Concept in Sixteenth-Century Music Criticism*". Renaissance Quarterly 41, n.º 3 (1988): 413–38. http://dx.doi.org/10.2307/2861755.
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”… et vere sciunt cantilenas ornare, in ipsis omnes omnium affectus exprimere, et quod in Musico summum est, et elegantissimum vident … “Adrian Coclico, Compendium musices (1552)The notion of music as a form of speech is a commonplace. Without arguing the difficult questions whether music is patterned after speech or itself constitutes its own language, it should be remembered that the main vocabulary for describing the structure and content of music has been drawn from the artes dicendi. The present report deals with a small, but significant part of this vocabulary: the term elegance along with various synonyms and antonyms borrowed from grammar and rhetoric and applied to music, in a number of writings, from classical times onwards.
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Weich-Shahak, Susana. "Musico-Poetic Genres in the Sephardic Oral Tradition. An Interdisciplinary Approach to the Romancero, Coplas and Cancionero". European Journal of Jewish Studies 9, n.º 1 (21 de abril de 2015): 13–37. http://dx.doi.org/10.1163/1872471x-12341270.
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This article, based exclusively on examples that the author has recorded from the oral tradition of the Sephardic Jews, presents the three main genres of the Sephardic traditional repertoire, romancero, coplas and cancionero. These three poetic and musical genres show the vitality, the richness and the variety of the Judeo-Spanish repertoire and have received focused attention by literary scholars and musicologists, through intensive fieldwork, recordings, analysis and interviews. This article presents a system of classification of the repertoire according to interdisciplinary parameters. All the examples belong to those the author has collected in work at the Jewish Music Research Center of the Hebrew University of Jerusalem. The recordings from her own fieldwork (1974–2014), together with those of other scholars, resulted in the world’s richest collection of the Judeo-Spanish repertoire, and is stored and catalogued at the National Sound Archives of the Israel National Library, open to scholars, singers and lovers of the Judeo-Spanish tradition.
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Vincent-Arnaud, Nathalie. "Musico-Literary Imaginary. Metamorphoses and disruptions". Captures 8, n.º 1 (2023). http://dx.doi.org/10.7202/1102701ar.
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Harling-Lee, Katie. "Listening to survive: Classical music and conflict in the musico-literary novel". Violence: An International Journal, 23 de octubre de 2020, 263300242094277. http://dx.doi.org/10.1177/2633002420942778.
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This article addresses the possibility that Western classical music might be used as a source of hope for a post-conflict future by considering a literary depiction of music and conflict resolution. As a case study, Steven Galloway’s The Cellist of Sarajevo is identified as a “musico-literary novel,” and established within the framework of Stephen Benson’s “literary music” and Hazel Smith’s methodological development of musico-literary studies through extended interdisciplinarity. The novel features three Sarajevan citizens who hear a cellist play in the rubble-strewn streets, and their music-listening experiences motivate them to work toward a post-conflict future. To consider the potential insights and blind spots surrounding ideas about music’s potential power in this narrative, the soundscape of the novel is identified to establish the significance of sound, music, and active listening in the text; parallels are highlighted between the ending of The Cellist of Sarajevo and Michael Walzer’s Just and Unjust Wars, revealing music as an active moral force; and similarities between Galloway’s novel and Craig Robertson’s “Music and conflict transformation in Bosnia” are illustrated, demonstrating how interdisciplinary analysis of a musico-literary novel can offer a valid contribution to discussions surrounding the use of music to exit violence.
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Guijarro Lasheras, Rodrigo. "On Imaginary Content Analogies in Musico-Literary Imitation". CLCWeb: Comparative Literature and Culture 21, n.º 4 (1 de julio de 2019). http://dx.doi.org/10.7771/1481-4374.3152.
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Harling-Lee, Katie. "Caught in the Regime: Classical Music and the Individual in the Contemporary Novel". Representing Classical Music in the Twenty-First Century 1, n.º 1 (24 de agosto de 2021). http://dx.doi.org/10.16995/olh.4685.
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The twenty-first century has seen the identification and development of a new literary genre: the musico-literary novel, defined as a novel thematically concerned with music (Harling-Lee, 2020). As a comparative case study, this article considers two musico-literary novels set during conflict: Do Not Say We Have Nothing (Thien, 2016) and The Noise of Time (Barnes, 2017). Set, respectively, in Communist China and the Soviet Union, two communist regimes which historically targeted classical music and musicians, the novels use their conflict contexts as a springboard to explore existential—and existentialist—crises concerning the survival of the self in relation to music. Following Adler and Ippolito’s proposal that ‘extreme cases are valuable in revealing phenomena that are often camouflaged in less extreme … more familiar circumstances’ (Adler and Ippolito, 2016), analysis of the novels’ representations of classical music reveals the powerful potential that music is presumed, by the popular imagination, to offer. With a focus on individual composers and performers, the novels depict classical music as a source of personal identity that is relied upon by individuals for personal and existential expression; for when the state threatens a character’s musical life in these novels, it also threatens a character’s sense of self. Due to the legacy of absolute music, classical music is seen as a source of hope through its potential autonomy from ‘meaning’ even as it promises to be a refuge for the self, embodying a paradox that becomes central to the representation of western classical music in the popular imagination of the contemporary musico-literary novel.
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Mole, Christopher. "Fractal narratives and musical transmission: the case of Nancy Huston". Etudes de stylistique anglaise 19 (2024). http://dx.doi.org/10.4000/11rfs.
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This article focuses on the narrative complexity in Nancy Huston’s novels. This is because Huston’s writing seems to showcase overlapping, interconnected, and perhaps never-ending relationships between and within her literary texts. This reflects the self-similarity of fractal shapes in the natural world. Crucially, if one were to zoom on to a small piece of fractal, the result would very much like the original (larger) entity. In a literary context, narratives as fractals are a “self-symmetry”; in the case of Huston’s texts, they are the (re)transmission of themselves, (re)fracted in different languages, both verbal and musical. In the first instance, this study focuses on Huston’s mise-en-abyme of the writing process, taking examples from the author’s novels since the 1990s. I will then analyse how Huston makes use of intermedial forms, such as musico-literary texts, in order to reinforce the self-reflexive dimension of the texts – attention will be paid to her first novel Les Variations Goldberg (1981) and her self-translation The Goldberg Variations (1996).
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Anna Marieke Zijlstra. "OBOETRY – French poetry played in melody: a poetical & vocal approach to French 'mélodie' on oboe". Royal Conservatoire Research Portal, n.º 1 (9 de mayo de 2022). http://dx.doi.org/10.22501/koncon.1432269.
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This interdisciplinary research presents a contextualisation and musico-literary analysis on the French poem and art song “Colloque sentimental” from Paul Verlaine and Claude Debussy, followed by a full-fledged transcription of this ‘mélodie’ for English horn, expanding the existing oboe repertoire. In the annotation and interpretation of “Colloque sentimental”, a poetical and vocal approach has been applied, aiming to communicate a deeper understanding of the ‘poésie’ and ‘mélodie’ for performance practices. The studying and singing of the song resulted in an experimentation and reflection of playing the ‘mélodie’ on English horn, a process of musically translating the poetry into an instrumental transcription that takes into account the particularities and possibilities of the language and voice as well as these of the instrument in question, with the aim of providing useful material for fellow oboists and those who are interested. For example, it was demonstrated during the research process how the understanding of literary and vocal phrases enhances horizontal and legato phrasing on English horn. Consequently, an important challenge in this case consisted of writing the transcription in a feasible notation that would be playable for any oboist, even without prior knowledge of the French language and poetry, hopefully leading to a poetical and purposeful performance of the piece.
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Reynolds, Anne-Marie. "Carl Nielsen Unmasked. Art and Popular Musical Styles in Maskarade". Carl Nielsen Studies 1 (10 de abril de 2003). http://dx.doi.org/10.7146/cns.v1i0.27726.
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Although Carl Nielsen’s international reputation rests on his symphonies, in Denmark he is equally beloved for his songs. Over the course of his life, the former increased in complexity as the latter grew more folk-like, so that Nielsen developed into a Janus-faced composer, a master of both art and popular styles. These genres typically have been studied in isolation so that, though many scholars note that Nielsen’s music is full of contrast, few show that this depends on the opposition of two specific styles. Nor has a parallel been drawn between this musical tension and the conflicts Nielsen faced in his personal life, not the least of which was the insidious Law of Jante (“Thou shalt not believe thou art something”) that has plagued many a nationalist artist. Nowhere is Nielsen’s opposition of art and popular styles more effective than in Maskarade (1904-1906), arguably the Danes’s favorite among his compositions, in which the two styles represent conflicting dramatic themes and serve to distinguish between the characters. Ludvig Holberg’s eighteenth-century comedy provided Nielsen with a particularly apt and surprisingly current dramatic framework in which to play out the musical and personal tensions he experienced midway through his career. Nielsen’s opera is an interdependent literary-musical statement in which he underscored the dramatic themes and characterized the main roles with appropriate musical styles drawn from the entire range of his compositional personae. The masked ball’s utopian blurring of class distinctions is modeled musically in the symmetrical key scheme that fuses this musico-dramatic continuum.
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Tarassenko, Joanna. "Spiritual resonance". Stellenbosch Theological Journal 9, n.º 4 (28 de noviembre de 2023). http://dx.doi.org/10.17570/stj.2023.v9n4.a1.
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This article presents a pneumatological reading of Dietrich Bonhoeffer’s appeal to the phenomenon of musical resonance through his use of the metaphor of “polyphony” and related musical casts of mind. In so doing, it provides an alternative reading of Bonhoeffer’s late theology by establishing a connection between Letters and Papers from Prison and Ethics through his use of musical metaphors. In it I make two significant claims about Bonhoeffer’s use of musical metaphors in his late theology. First, that polyphony is a dynamic metaphor which Bonhoeffer discovers and utilises to express his understanding of the relationship between God and the world in Christ. I argue that the limitations of visual-spatial metaphors, which Bonhoeffer openly laments in Ethics, are overcome by his discovery of polyphony in Letters and Papers from Prison as a metaphor which conceptualises the relationship between God and the world (operating in a single realm or space) as well as preserving the distinction of each; in this respect, polyphony texturizes Bonhoeffer’s view of reality, carefully nuancing it. The way the metaphor functions for Bonhoeffer mirrors the way he employs the work of the Holy Spirit in his theology. Thus, it indicates that implicit in Bonhoeffer’s theological appeal to polyphony is a model of the agency of the Holy Spirit, so that in exploring polyphony a latent pneumatology in Bonhoeffer can be unearthed. Read in this way, polyphony is a potent metaphor for illumining the Spirit’s work as that which enables unity, distinction, and dynamic relationality between God and the world in the church. The article concludes by pointing to how a musico-pneumatology such as that which we find in Bonhoeffer can be further developed.
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"Word and Music Studies 1: Defining the Field; Word and Music Studies 2: Musico-Poetics in Perspective; Word and Music Studies 3: Essays on the Song Cycle and on Defining the Field; Word and Music Studies 4: Essays in Honor of Stephen Paul Scher and on Cultural Identity and the Musical Stage". Poetica 36, n.º 1-2 (19 de diciembre de 2004): 239–42. http://dx.doi.org/10.30965/25890530-036-01-02-90000012.
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"Walter Bernhart, Steven Paul Scher und Werner Wolf (Hg.): Word and Music Studies 1: Defining the Field. Amsterdam/Atlanta, GA: Rodopi, 1999. 352 S. / Jean - Louis Cupers und Ulrich Weisstein (Hg.): Word and Music Studies 2: Musico-Poetics in Perspective. Calvin S. Brown in Memoriam. Amsterdam/Atlanta, GA: Rodopi, 2000. XVII-313 S. / Walter Bernhart und Werner Wolf in Zusammenarbeit mit David Mosley (Hg.): Word and Music Studies 3: Essays on the Song Cycle and on Defining the Field. Amsterdam/Atlanta, GA: Rodopi, 2001. XII-253 S. / Suzanne M. Lodato, Suzanne Aspden und Walter Bernhart (Hg.): Word and Music Studies 4: Essays in Honor of Stephen Paul Scher and on Cultural Identity and the Musical Stage. Amsterdam/New York, NY: Rodopi, 2002. VII-324 S." Poetica 36, n.º 1-2 (27 de junio de 2004): 239–42. http://dx.doi.org/10.30965/25890530-0360102012.
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