Дисертації з теми "Song poems"
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1
Redman, Carolyn E. "Songs to the moon: a song cycle by Jake Heggie from poems by Vachel Lindsay." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1101848827.
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Redman, Carolyn Elizabeth. "Songs to the moon a song cycle by Jake Heggie from poems by Vachel Lindsay /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1101848827.
Повний текст джерелаАнотація:
Thesis (D.M.A.)--Ohio State University, 2004.Title from first page of PDF file. Document formatted into pages; contains xiv, 159 p.; also includes graphics Includes bibliographical references (p. 147-149) and discography.
3
Ng, Kam-lung, and 吳錦龍. "A study of the Yuan period criticism of the Song poems." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39634085.
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4
Tse, Wai-lok. "Female singers and the ci poems of the Tang and Song periods Ge ji yu Tang Song ci /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38322110.
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Tse, Wai-lok, and 謝煒珞. "Female singers and the ci poems of the Tang and Song periods=." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38322110.
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6
Lai, Hing-fong Camilla. "Ci poems on plum blossoms of the southern Song period (1127-1279) /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19929638.
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7
Kulma, David. "Emily: A Song Cycle For Soprano and Chamber Ensemble on Poems of Emily Dickinson." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1291039230.
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8
Hu, Maria Theresa. "Daughters of the lesbian poet| Contemporary feminist interpretation of Sappho's poems through song." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1596463.
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This thesis examines the seven song and/or choral settings of Sappho’s poetry by contemporary women composers Carol Barnett, Sheila Silver, Elizabeth Vercoe, Liza Lim, Augusta Read Thomas, Mary Ellen Childs, and Patricia Van Ness. Each composer has set Sappho’s poems in her own creative and artistic interpretation through diverse modern musical styles, giving the Greek poetess a modern, gendered female voice. This paper presents connections between the poetry chosen, its themes and interpretations, as well as the expressive musical devices employed. The various methodological approaches include historical and textual criticism, sociomusicology, and gender and sexual studies. The setting of Sappho’s poetry and the commonalities of the poetic themes set to music help us understand how modern women view Sappho’s image, hear, and give voice to the poetess of the ancient world.
9
Ng, Kam-lung. "A study of the Yuan period criticism of the Song poems Yuan dai dui Song shi ping jia zhi yan jiu /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B39634085.
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10
Bell, Susan. "Verse into Song Composers and their settings of poems by Thomas Hardy: 1893 - 1928." Thesis, Loughborough University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492734.
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This thesis explores the work and lives of composers who set Hardy's verse to music during his lifetime and seeks to identify the place of Hardy song settings in English musical history and in the personal history of their composers. It also gives evidence that Hardy possessed an extraordinary musical memory, and that, to an extent that has not been appreciated, he consciously wrote various poems for musical settings.
11
Jantsch, Nancy E. Jennings. "\"Briefly It Enters\" : a song cycle by William Bolcom from poems by Jane Kenyon." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486394475978614.
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12
Sullivan, Michael Joseph Plygawko. "Tennyson and the revision of song." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/271748.
Повний текст джерелаАнотація:
Writing in the 1890s, in an early account of Tennyson’s poetry, the Victorian anthologist F. T. Palgrave was keen to maintain the myth of the spontaneous singer. ‘More than once’, he recorded, Tennyson’s ‘poems sprang’ from a ‘nucleus’, ‘a brief melodious phrase’ or ‘song’, which, if not transcribed immediately, ‘fled from him irrecoverably’. It has long been the case with poets of ‘lyrics’ and ‘songs’ that their skills have been depicted as improvisatory, fleeting, or inspired. Their skills have been understood, variously, as indicative either of the most dexterous of intellects, or of brilliant but uncontrolled visions, a ‘flash’ of prophetic insight or revelation – a feel of what Shelley likens to ‘the interpenetration of a diviner nature through our own’. For many poets, however, the reality is one of inspiration that gives birth to intense manuscript activity and revision. It is now well known that Tennyson revised and re-revised, even after publication, until only weeks before his death; and yet no book-length study has pursued the significance of his manuscript revisions for the development of his style. This thesis traces the poet’s stylistic evolution through his notebooks, drafts, and printed volumes. Uncovering new literary manuscripts from Harvard, Lincoln, Cambridge, and New York, the study offers a more comprehensive picture of the poet’s craft: one alert to his evolving ambitions, and to the immense shifts that he effected in the landscape of English verse. The thesis begins by excavating how the notion of poetic ‘song’ fuelled a creative process at the heart of Tennyson’s revisions. In tracing the diverging fates of ‘lyric’ and ‘song’ across his notebooks, the opening chapter restores an important discourse for Tennysonian sonority that has comparatively declined in recent years. Chapter II examines Tennyson’s aesthetic control over the Victorian lyrical canon, drawing on a new manuscript of ‘The Golden Treasury’, the most significant anthology of the nineteenth century. Chapter III studies the notebook containing Tennyson’s first collection of verse, ‘Poems, by Two Brothers’. It reveals how much of the poor punctuation that sparked vehement attacks – and which is reproduced in modern editions – was not, in fact, inserted by the poet. Chapter IV explores how Tennyson’s most famous early songs and lyrics, published in ‘Poems, Chiefly Lyrical’, developed in tandem with his blank verse style. Chapters V and VI illuminate Tennyson’s ‘ten year silence’, which witnessed profound innovations in form, the revision of his 1832 Poems into his celebrated collection of 1842, and the creation of ‘In Memoriam’. Chapters VII and VIII piece together the notebooks, proofs, drafts, and revision copies of ‘The Princess’, Tennyson’s medley of songs and voices, lyrics and blank verse. By its end, the study reveals how the ringing qualities of his works emerged through manuscript revision: in the interplay between sonorous forms and narratives that came, over decades of change, to shape the distinctive drama of Tennyson’s style.
13
Ludden, Paul R. "A song of war and victory : an edition, commentary, and analysis of the 1905 tone poem by Sir Arnold Bax." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1343465.
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Many of the musical works composed by Sir Arnold Bax have been studied, edited, and performed in the fifty or so years since his death in 1953. Until recently, several of the earliest symphonic works have remained as original unedited manuscripts tucked away in private collections. This dissertation serves to partially remedy this obscurity by presenting the first edition of the 1905 tone poem, A Song of War and Victory as a practical and working score. It also provides a study comprising commentary, analysis, and a large section devoted to the correction of the many errors in the manuscript. This early work is now available to orchestras, conductors, and scholars in a performance edition. Within the commentary and analysis portions is a comparison study of the other extant early, and interestingly varied, symphonic works, complete with an appendix, comprising a complete edition of the 1904 set of variations aptly titled, Variations (Improvisations). Before this study, Bax's Variations was the only remaining unedited work from the early symphonic complete works. Therefore, this dissertation fills these notable, existing, gaps and completes the exposition of these earliest examples of the composer's work.School of Music
14
Oliveira, Pedro Tomé de Castro. "Os Blues Poems de Langston Hughes: por uma tradução musicada." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8160/tde-21072017-161649/.
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Se a tradução envolve leitura e reescrita, nós poderíamos questionar o modo como se lê antes de questionar o modo como se reescreve. A tradução de poesia parece continuamente lidar com problemas de ritmo, rima, sintaxe, sentido, registro linguístico. Mas e se o tradutor, entendendo a leitura como performance, recolocar tais questões sob a perspectiva de outra mídia, que possa libertá-lo das restrições da escrita? O pesquisador Peter Low (2003) provoca os tradutores de poesia a se questionarem se desejam que seus textos sejam vocalizados (recitados, musicados etc.), e não apenas lidos silenciosamente. Haveria, então, uma alteração funcional e, consequentemente, um texto de chegada com um skopos diferente (REISS e VERMEER, 1996). Trata-se de trabalhar com a força latente da voz no texto; com uma possibilidade de performance inscrita na mídia escrita: a vocalidade, como coloca Paul Zumthor (1993). O poeta negro estadunidense Langston Hughes (1902-67) escrevia poemas semelhantes a letras de blues e recitava seus versos no ato da criação, o que pode sugerir algo a respeito de um possível modo de ler, absorver e recriar sua poesia em outra língua. Nosso objetivo, portanto, é traduzir seus poemas de blues ao cantá-los e tocá-los no violão. As canções de blues resultantes, em português, estão registradas em CD que foi inserido como apêndice da tese. Nosso método consiste em musicá-los enquanto os traduzimos, pois a simultaneidade dos processos é precisamente aquilo que interfere nas escolhas linguísticas, influenciando aspectos de ritmo, sintaxe, sentido etc. Nossa hipótese envolve, então, a questão de como os modos de dizer da canção popular, numa dada língua-cultura, determinariam o resultado da tradução. Essa experimentação deve, segundo esperamos, contribuir para os Estudos da Tradução por redimensionar alguns aspectos do texto de acordo com a dinâmica da vocalização. Esses resultados são tanto acadêmicos, em termos da discussão sobre a própria tradução, quanto artísticos, como música de blues composta para o público brasileiro, apresentando Langston Hughes, relativamente pouco conhecido e traduzido no Brasil, na forma de um gênero musical que é amplamente disseminado por aqui.If translation involves reading and rewriting, we might question how we read a text before questioning the rewriting. Poetry translation seems to continually deal with problems of rhythm, rhyme, syntax, meaning, register. What if the translator understands reading as performance in order to reconceive all those issues within the perspective of another medium, which could free him from the constraints of writing? Researcher Peter Low (2003) suggests that poetry translators ask themselves whether they would like their texts to be recited, set to music etc., rather than just silently read. There would be, then, a functional alteration, and the target text would have a different skopos (REISS and VERMEER, 1996). We propose working with the latent force of the voice in the text; with a possibility of performance inscribed in the written medium: the vocality of Paul Zumthor (1993). The Afro-American poet Langston Hughes (1902-67) wrote poems very similar to blues lyrics and knowingly spoke (or even sung) his lines while creating them. That might suggest something about a way to read, absorb and recreate his poetry in another language. Our goal, therefore, is to translate his blues poems while singing and playing them on the guitar. The resulting blues songs in Portuguese are registered on a CD attached to this thesis. Our method is to set them to music while translating them, because the simultaneity of the processes is exactly what might interfere in the linguistic choices, influencing aspects of rhythm, meaning etc. Our hypothesis involves, then, the discussion of how the modes of expression of the popular song, in a given system of language-culture, would determine the results of the translation. That sort of experimentation will hopefully contribute to the Translation Studies by rearranging certain aspects of the text according to the dynamics of vocalization. These results are both academic, in terms of the discussion about translation itself; and artistic, as blues music composed for the Brazilian audience, presenting Langston Hughes, relatively unknown and non-translated in Brazil, in the form of a musical genre which is widely disseminated here.
15
Hobbs, Mary Etta. "An Investigation of the Traditional Cante Jondo as the Inspiration for the Song Cycle Five Poems of Garcia Lorca by Elisenda Fabregas." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4512/.
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The traditional cante jondo is a song unique to Andalusia as it developed from the "mosaic" of cultures that have inhabited its borders, including Arabs, Jews and Gypsies. The genre expresses the history of the region, reveals the typography of the landscape and cries the tears of its people. "Deep song," the translation for cante jondo, is the forerunner of the flamenco, but it is a communication of a dark soul rather than an exuberant entertainment. The original folk idiom is a medium less concerned with beauty than the cathartic release of pain of every day life. It expresses the soul of Andalusia. This study explores the history and the poetic and musical forms Andalusian cante jondo as the inspiration for the poetry of Federico Garcia Lorca set by Elisenda Fabregas in the song cycle, Five Poems of Garcia Lorca (1992). Lorca felt the validity of "deep song" and he was disturbed that it was being corrupted by commercialism and was afraid it would be lost to posterity. His goal was to preserve the essence of the song and lift it to an artistic plain. He saw folk music as the core of the national musical and literary identity in Germany, France and Russia and worked to establish Spain as an artistic equal. Lorca's writings were not imitations of the traditional cante jondo. They echoed the history, the landscape and the tears, but they did so through symbolism and vivid imagery. The poet communicated on several levels, one as a voice of Andalusia, Spain and ultimately mankind and another with his own private message. His life was short, but his legacy is long. Fabregas, like Lorca, has taken a folk medium and expanded it beyond its original boundaries. Being of Spanish heritage, but not Andalusian, she is less committed to the local musical constraints. She felt the humanity in Lorca's poetic cries and expressed them through her own language. As a result her songs are intensely dramatic and are exciting pieces to perform.
16
Hobbs, Mary Etta García Lorca Federico Fábregas Elisenda. "An investigation of the traditional cante jondo as the inspiration for the song cycle Five poems of Garcia Lorca by Elisenda Fábregas." connect to online resource, 2004. http://www.unt.edu/theses/open/20041/hobbs%5Fmary%5Fetta/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2004.Accompanied by recitals, recorded in 1992, Apr. 23, 2001, and Nov. 17, 2003. Includes analysis by Fábregas. Includes bibliographical references (p. 72-74).
17
Chung, Chi-kwong. "The relationship between recitation and Chinese literature a study through Du Fu's poems = Cong Du Fu shi tan lang song yu Zhongguo wen xue de guan xi /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B41547275.
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18
Victor, Eliene Padilha Felipe. "TRADUZIR DÉCIO FILHO: TRADUZIR POESIA." Pontifícia Universidade Católica de Goiás, 2009. http://localhost:8080/tede/handle/tede/3173.
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ELIENE PADILHA FELIPE VICTOR.pdf: 712602 bytes, checksum: 7a97c018033f51bd96e0f20b648dbcf7 (MD5)
Previous issue date: 2009-11-13This paper show an attentive reading of two poems written by José Décio Filho, a modern Goiano poet that published one book, which title is Poemas e Elegias (Poem and Elegy) and from which we selected two poems to be translated into English language: Serious Elegy and Song of Night . As an attentive reading the translation presents like a critical movement and was necessary an analysis of the poems in a manner that we knew the characteristics of Décio Filho s poems. It was also necessary to understand the process of translation while confront among different point of view and different culture. So, by the beginning a discursive analysis discussion, lexical and rhythm we proposed the translation of the poems
O presente trabalho mostra uma leitura atenta de José Décio Filho, poeta moderno, goiano que publicou um livro intitulado Poemas e Elegias e do qual selecionamos dois poemas para serem traduzidos para a língua inglesa: Grave Elegia e Canção da Noite . Enquanto leitura atenta a tradução se apresenta como movimento crítico e necessitou de uma análise dos poemas de maneira a conhecer as características das poesias de Décio Filho. Foi necessário também entendermos o processo da tradução enquanto confronto entre visões diferentes e culturas diferentes. Enfim, a partir de uma análise discursiva do ritmo e dos campos lexicais propomos uma tradução das poesias.
19
Atha, Tammy Jolene. "Songs of Amy & Other Poems." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1511979906462235.
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Shepherd, Stephen Henry Alexander. "Four Middle English Charlemagne romances : a revaluation of the non-cyclic verse texts and the holograph Sir Ferumbras." Thesis, University of Oxford, 1988. http://ora.ox.ac.uk/objects/uuid:512b868f-d431-45e0-93ea-fc8f6613b816.
Повний текст джерелаАнотація:
Four Middle English Charlemagne Romances are examined with the intention of disproving conventional claims that English romances of the 'Matter of France' are typically undistinguished. The manuscript of the Ashmole Sir Ferumbras is a holograph; preserved with it, on sheets which originally formed the binding, is a portion of the poem's rough draft. Comparison of the draft with the fair copy reveals something of the romancer's translational and compositional method, and illustrates well his enthusiasm for, and ability occasionally to improve upon, his French source. The fragment of The Song of Roland displays some sensitivity to the heroic essence of its famous French model. The poem also displays, however, a free, sensitive, sometimes eloquent and technically complex, adaptation of notable features of that model. The Sege of Melayne has been recognized for its energy; but extensive studies of the poem appear to have been prevented by an inability to account for the poem's lack of known sources and its use of extraordinary episodes and unusual narrative techniques. Analogues and possible influences do, however, exist; and most reveal the poem's remarkable affinity with propagandistic crusading literature. This affinity goes some way toward explaining, and allowing us to appreciate, the poem's unusual features. Rauf Coilyear is unusually described as a competent and straightforwardly humorous tale similar in spirit to its analogues. A closer look, however, shows the humour to be complicated by the seriousness of a social critique; at times the hero's experiences is far from laughable. There is, in fact, some similarity, both of incident and theme, with the best poems of the 'Gawain-group'. That a comparison with such poems (and, indeed, with 'serious' elements in the other Charlemagne romances) can convincingly be made suggests that our expectations of the poem's literary significance should be revised accordingly.
21
Price, Lee Scott. "SONGS OF THE NIGHT SKY: THREE POEMS OF QUENTIN SMITH." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1124225909.
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Jun, Kyong-Sook Katherine. "A musical and poetic investigation of John Duke's Six poems by Emily Dickinson and Four poems by Emily Dickinson /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11429.
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CORDEIRO, Nilson Da Rocha. "A casa em verso e prosa: Canções, poesias e subjetividade do conceito de casa." Universidade Federal de Pernambuco, 2015. https://repositorio.ufpe.br/handle/123456789/18010.
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A CASA EM VERSO E PROSA [Dissertação-MDU] - Nilson da Rocha Cordeiro.pdf: 2180963 bytes, checksum: 9626e909e5530d9a9c4943c189b62e12 (MD5)Made available in DSpace on 2016-10-18T18:56:41Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) A CASA EM VERSO E PROSA [Dissertação-MDU] - Nilson da Rocha Cordeiro.pdf: 2180963 bytes, checksum: 9626e909e5530d9a9c4943c189b62e12 (MD5) Previous issue date: 2015-07-21
CNPQ
Ao iniciar estas reflexões sobre a moradia, buscamos destacar o aspecto basilar da casa – enquanto abrigo – para o desenvolvimento do indivíduo, da cidade e da sociedade. Com o objetivo de investigar as concepções de casa, como esse termo é percebido e qual a sua real importância na constituição do indivíduo, utilizamos como porta de acesso para esse universo as representações feitas sobre a casa e o lar encontradas em canções e poemas que abordam a temática, seja de forma explicita ou implícita. A construção e análise dos dados deram-se de forma qualitativa na perspectiva interpretativa das ciências, nas quais, os atos humanos, assim como seus discursos, constroem e carregam significados que tecem os tecidos da história, da sociedade e das pessoas. Tentamos, por meio de uma leitura de canções e poemas, por meio da análise do conteúdo (BARDIN, 1977) e fundamentados na teoria das representações sociais (MOSCOVICI, 1978, 1985; JODELET, 1985, 1991), pesquisar a ideia de casa que está presente em nosso imaginário. Tomamos de empréstimo alguns conceitos da psicanálise (FREUD, 1973; WINNICOTT, 1983, 1985, 1989). Pudemos perceber que uma primeira ideia de casa é aquela associada à herança. Uma casa-memória onde encontramos os traços de uma afetividade intensa e geralmente associada à infância. Uma segunda projeção da casa é a casa-identidade que se projeta no tempo presente. Ela é o espaço de pertencimento e de segurança. Finalmente, uma terceira projeção da casa é a que se lança para o futuro: a casa-promessa ou casa-esperança, uma casa idealizada e que é sonhada e desejada, sempre como uma promessa de felicidade e realização.
When starting these reflections on the home, we seek to highlight the fundamental aspect of the house - as shelter - for the development of the individual, the city and society. In order to better understand the concepts of “home”, as that term is perceived and what is its real importance on the individual's constitution, we used the representations made about the house and the home found in songs and poems addressing the issue as an entry point for this universe, either explicitly or implicitly. The construction and analysis of the data is given in a qualitative way in the interpretative perspective of science, in which the acts of humans, as well as his speeches, build and carry meanings that weave the fabric of history, society and people. We try, through a reading of poems and songs, through content analysis (BARDIN, 1977) and based on the theory of social representations (MOSCOVICI, 1978, 1985; JODELET, 1985, 1991). Search the home of idea that is present in our imagination. We also borrow some concepts of psychoanalysis (FREUD, 1973; WINNICOTT, 1983, 1985, 1989). We noticed that a first idea of home is that of inheritance. A memory-home, in which we find traces of intense affection and usually associated with childhood. A second projection of the house is the house-identity that is projected in the present times. It is the space of belonging and security. Finally, a third projection, the desired house of the future: The promise-house or the home one hopes to obtain, idealized, dreamed and desired, always as a promise of happiness and fulfillment.
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De, Saxe Marian. "Sing Me a Song of History: South African Poets and Singers in Exile, 1900–1990." Thesis, The University of Sydney, 2010. http://hdl.handle.net/2123/7760.
Повний текст джерелаАнотація:
In this thesis I argue that poetry, for the South African poets and singers in exile in the period 1900–1990, was a highly symbolic agent which crossed the divide between verbal discourse and poetic form. Poetry embodied altruistic gestures and trusted encounters which became social agencies of change, reconciliation and hope due to historical exigencies, political imperatives and individual courage and sacrifices. By naming the condition of exile within literary representations of movement, travel and the diaspora, I am asking whether poetic representations of the South African exile validates a positioning of exiles‘ literary archives as a late modernist, ontological concern. I propose that this poetry, exilic poetry, intersects at all times with an altruistic intent that reinvigorates our ideas of humanism or humanisms. I consider the development and relevance of literary theories in South Africa and ruminate on the prose of Percy Bysshe Shelley, Paul Gilroy and Jacques Derrida in relation to the role of poetry in politics. By placing geo- and indeed bio-politics in our frame, we can comprehend the meaning of apartheid in terms of multiple philosophical positions which privilege the major disruptions, the main ― "isms" of our time: colonialism, humanism and the body politics that have arisen as a result of immense conflict. Apartheid was one such disruption, the after-effects of which are still new as South African histories are being torn apart and rewritten. Through all this, the poets talking to the people rewrote and wrote histories which we are still reading and writing. My thesis has considered whether there were specificities about South African exile which are revealed by looking at the relationship of poetry to exile. I have argued that these poems fall between the real and the imagined as trusted encounters, not as stories. Ultimately exiled writers and singers found the ecstasy of life in their poems or songs and in the fact of being alive, and in this sense they retained a sense of intense individuality despite their collective purpose. There is still much work to be done on the cultural mobility and transculturation that infuses these works with such a rich sense of altruistic, historical purpose.
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Chan, Kar Yue. "Ambivalence in poetry : Zhu Shuzhen of the Song Dynasty." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/28704.
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Many people in the past praised Chinese literature partly because of the glamour revealed in splendid poetry, and in creating these poetry male poets have proved their excellence. Conversely the contributions of women poets have seemed much less significant in the history of traditional Chinese literature. Among the relatively small number of famous women poets in China, Zhu Shuzhen (11357-1180?) is certainly worthy of discussion, but she has not received much critical attention, in part because of the lack of reliable biographical information. Although some of Zhu Shuzhen's poems have been seen by some scholars as disgraceful, it is nevertheless valuable to explore the inner world and poetic indications of the voice projected from the poems in an objective way. However, as the number of poems attributed to Zhu Shuzhen is large, despite living under an atmosphere that discouraged the writing of poetry by women, her name is undoubtedly significant in the development of female poetry. Western theories of gender representation and the development of self in literature have been used as the main sources and frameworks for research in this thesis. The aesthetic values in Zhu Shuzhen's original verse have been retained through my translations by selecting the best appropriate original versions in different editions. Comparisons between Zhu Shuzhen and Yu Xuanji fa, (8447-868?), a woman poet in the Tang Dynasty, reveal similarities and differences which distinguish the two in terms of their resistance to the code that cast women as inferior. This thesis will analyse Zhu Shuzhen's ambivalent mind as revealed in her poetry through her contradictory statements, ideas and images regarding the notion of being a good wife on the one hand, and, on the other hand, of a woman suspected of conducting an extramarital affair.
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Van, Der Watt Gerhardus Daniël. "The songs of Gerald Finzi (1901 - 1956) to poems by Thomas Hardy." Online version, 1996. http://bibpurl.oclc.org/web/27859.
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Dunham, Phyllis M. "The People's Poets: Literature Born of the Texas Singer-Songwriter Movement of the Last Forty Years." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2212.
Повний текст джерелаАнотація:
The People’s Poets of Texas: Literature Born Within the Singer/Songwriter Tradition of the Last Forty Years is a creative nonfiction exploration of the poetry found within the songs of multiple generations of modern Texas singer/songwriters and a case for the consideration of their work as a genuine regional literature. Studying the roots of Texas music, the musicality of Texan manners of speech and storytelling, and re-examining the Austin, Texas music scene of the 1970s that brought a national focus to the organic, reciprocal manner in which Texas music is traditionally experienced, radically altered the ways in which the songs were written, recorded, and marketed. An examination of this phenomenon allows us to understand that, first, a proliferation of Texas singer/songwriters of unprecedented quality has emerged in recent decades and that, second, a legitimate people's literature is emerging from their song-craft.
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Donkin, Deborah Jean. "A study of Oliver Messiaen's song-cycles Poèms pour mi, Chants de terre et de ciel, and Harawi." Thesis, Rhodes University, 1992. http://hdl.handle.net/10962/d1002300.
Повний текст джерелаАнотація:
This thesis ventures into the relatively neglected world of twentieth century vocal music, via the three song cycles of Oliver Messiaen. The song cycle is a comparatively young genre, generally dated from Beethoven's An die ferne Geliebte or by some, even later to Schubert's Die schone Miillerin. Nevertheless, considerable changes have taken place in the 160 years which separate Messiaen's cycles from those of the 'pioneers' mentioned above. A fuller appreciation of twentieth century cycles is facilitated by observing this evolutionary process and placing the works within an historical and cultural perspective. Such an introduction is provided in part one of this thesis, along with relevant details on the life and interests of Messiaen. The latter information gives insight into the compositions themselves and may satisfy the reader's curiosity on the origin of some of the more unexpected techniques or ideas Messiaen llses. Before embarking on a study of the cycles, it is necessary to look at the highly individual musical language of the composer. Section two undertakes this task in some depth, wherever possible relating the explanations directly to the songs which follow. In order to clarify the text and to simplify the exercise for the reader, numerous musical examples have been used. This contributes to the apparent bulk of this section. The main emphasis of the thesis is the detailed study of the 20 songs contained in Poemes pour Mi, Chants de Terre et de Cief and Harawi. The third section of the thesis deals with this material thoroughly and systematically, dividing it up into musical and extra-musical aspects. The texts are considered in terms of Surrealist, religious, Nature, numerological and, in the case of Harawi, mythological and Peruvian folk symbolism. The relationship of text to music is studied and evelopments highlighted. Musically, the study is further sub-divided into piano part and vocal part. In each case, an extensive exploration of the techniques required of the performer is presented. This makes possible the subsequent categorisation of the songs on the basis of similarities in the musical means. Conclusions reached show a progressive development through the three song cycles in the composer's handling of the text, his treatment of the voice, his use of the piano and his expansion of the voice-piano relationship. This body of solo vocal literature emerges as typical of Oliver Messiaen's compositional style in general and therefore properly representative of the meticulous craftsmanship with which his works are constructed. The detailed analysis of all aspects of the songs contributes original material to scholarship on Messiaen and on song cycles in the twentieth century.
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Bell, Gregory Stuart. "John Donne: Love and Voices in the Elegies and Songs and Sonnets." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15326.
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This thesis argues that Donne's Elegies and Songs and Sonnets found a readership trained to appreciate his words. It draws on the work of Wolfgang Iser. Iser particularly looks at the importance of a text providing a space in which the reader can imagine possibilities that extend his or her world. It is through voices that Donne connects with his readers, and creates worlds and spaces that they can explore. As his poetic control matures, Donne increasingly lives inside the poetic worlds he creates. At first, in the Elegies, his speaker is the societal observer and participant. Through this speaker, Donne will increasingly seek to educate his readers, and have them imagine new ways to approach life and love. In the Elegies, women will be the touchstone against which men measure their worth. In the Songs and Sonnets the speaker develops to be Donne himself, and the measure of worth will change to be the prospect of an androgynous, balanced, constant love. Donne explores the nature of what such a reciprocal love might look like, pushes rhetoric almost to breaking point, and seeks poetic solutions to the questions a challenging world poses. It is Donne's developing awareness of the power of voice that allows him to structure his world, finally face the agonizing loss of Anne, and contemplate a life with God. An awareness of biographical context will at times help to more fully understand his poetry. And it is voices, both real and imagined, that offer the reader the chance to participate in making meaning in that poetry.
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Firth, Katherine. "The MacNeices and their circles : poets and composers in collaboration on art song, 1939-54." Thesis, Oxford Brookes University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.501968.
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Tsai, Wei-Shu. ""A Blossoming Tree": A Study and Interpretive Guide to the Songs of Nan-Chang Chien on Selected Poems of Muren Hsi." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157550/.
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According to a recent United Nations report, China's population of 1.4 billion represents 19% of the world's entire population of 7.6 billion. As the distance between east and west contracts in business, so too do the arts. This dissertation focuses on six selected contemporary Chinese art songs composed by Nan-Chang Chien. By providing the references of musical facts, synopsis of the poems, word-for-word translation, IPA transcription, poetic translation, and interpretive and performance guides, singers and pianists will have an overall understanding and detailed directions for learning the Chinese language and Chinese art songs. This dissertation also provides the foundation and model for further exploration and research into Chinese art sing literature by scholars in the west.
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Schindler, Karl W. (Karl Wayne). "The War Poems: An Intermedia Composition for Chamber Orchestra and Chorus." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278847/.
Повний текст джерелаАнотація:
Expanding on the concept of Richard Wagner's Gesamptkunstwerk, The War Poems was written to combine various elements for an intermedia composition, including music, five slide projectors, lighting, and costume. Text used in the piece was taken from the writings of the English World War I poet Siegfried Sassoon.
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Hill, Colin. "Leonard Cohen's lives in art, the story of the artist in his novels, poems, and songs." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ29547.pdf.
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Hill, Colin 1970. "Leonard Cohen's lives in art : the story of the artist in his novels, poems, and songs." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26737.
Повний текст джерелаАнотація:
The concerns of the artist-figure are a central issue in the work of Leonard Cohen. His novels, poems, and songs, seen as a whole, form a portrait-of-the-artist. Cohen's artist-story is crafted with attention to the romantic tradition of the Kunstlerroman but extends beyond an initial apprenticeship phase, the focus of the Kunstlerroman, offering a more extensive exploration of the artistic vocation. The artist-figure, as he develops, encounters conflicts between his vocation and the demands of the outside world. Cohen's artist-figure endeavours both to make art and to self-create, and this creative impulse is simultaneously propelled and hindered by the romantic-love relationship, by the demands of an artist's role in the public sphere, by the aesthetic requirements of art itself, and by spiritual and religious issues. The last of these four concerns provides the artist-figure with a degree of lasting comfort through its mediation of some of the ongoing internal struggles of the artistic temperament. Cohen's portrait-of-the-artist attains a degree of depth and perspective by his own artistic persona's intrusion into his work, a persona he constructs in an ironic, self-conscious, and self-reflexive fashion.
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Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
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Pozzobon, Irene <1990>. "Apartheid Revolutionary Poem-Songs. The Cases of Roger Lucey and Mzwakhe Mbuli." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/6211.
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When a system of segregation tries to oppress individuals and peoples, struggle becomes an important part in order to have social and civil rights back. Revolutionary poem-songs are to be considered as part of that struggle. This dissertation aims at offering an overview on how South African poet-songwriters, in particular the white Roger Lucey and the black Mzwakhe Mbuli, composed poem-songs to fight against apartheid. A secondary purpose of this study is to show how, despite the different ethnicities of these poet-songwriters, similar themes are to be found in their literary works. In order to investigate this topic deeply, an interview with Roger Lucey was recorded and transcribed in September 2014. This work will first take into consideration poem-songs as part of a broader topic called ‘oral literature’. Secondly, it will focus on what revolutionary poem-songs are and it will report examples of poem-songs from the South African apartheid regime (1950s to 1990s). Its third part will explore both the personal and musical background of the two songwriters. Part four, then, will thematically analyse Roger Lucey and Mzwakhe Mbuli’s lyrics composed in that particular moment of history. Finally, an epilogue will show how the two songwriters’ perspectives have evolved in the post-apartheid era.
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Woolston, Rachelle M. "The Voice of Children in Art Song: A Study of Six Cycles Involving a Child's Perspective." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1353088912.
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Berg, Gabrielle Rachelle van den. "Minstrel poetry from the Pamir mountains : a study on the songs and poems of the Ismâí̂lîs of Tajik Badakhshan /." [S.l.] : [s.n.], 1997. http://catalogue.bnf.fr/ark:/12148/cb37091706f.
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YARDIN, IRIS. "Du poeme hermetique et des processus de son traitement. L'exemple d'e. E cumming." Paris 3, 1998. http://www.theses.fr/1998PA030137.
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Ce travail etudie le "poeme hermetique" du point de vue du lecteur et s'inscrit donc dans la recherche litteraire sur la reception du texte. Deux objectifs principaux sont fixes, l'un theorique et l'autre empirique. La premiere partie du travail tente de cerner la notion de "poeme hermetique" et, s'appuyant sur les modeles de comprehension avances par la psychologie cognitive, de proposer une definition de ce terme. La seconde partie s'interroge sur des processus qui seraient mis en oeuvre dans le traitement du poeme opaque. Comment le lecteur traite-t-il le poeme hermetique ? cette question est etudiee a l'aide de trois experiences portant sur des poemes d'e. E. Cummings. Les enquetes demontrent que le blocage des mecanismes de comprehension regissant generalement la reception de textes declenche des mecanismes de substitution. Ainsi, elles devoilent une progression non lineaire dans le poeme, orientee principallement vers les unites saillantes (intelligibles et bizarres) du texte. Une fois ces dernieres disponibles dans la memoire, elles activent des composantes qui font partie de leurs champs semantiques. Une lecture supplementaire de nos sujets a revele qu'a la suite du processus, le destinataire avance vers des elements proches du point de vue semantique de ceux releves prealablement. La reception delinearisee du poeme hermetique genere des changements dans le fonctionnement de certaines notions dans le domaine de la critique litteraire ; les termes "debut", "fin" et "surprise" sont reconsideres a la lumiere des resultats obtenus dans les experiencesThis dissertation studies the "hermetic poem" from the reader's point of view and is therefore comes within the scope of the literary research on text reception. This study has two main objectives one which is theoretical and the other empirical. In the first part i propose a definition of the term "hermetic poem" based on comprehension models elaborated in cognitive psychology. The second part deals with process involved in the reception of an opaque poem. How does the reader treat such a poem ? three experiments based on e. E. Cummings' poems have been conducted. They show that text which blocks the procedures generally involved in text comprehension triggers mechanisms of substitution. An analysis of the results demonstrates a non, linear progression, oriented principally toward the conspicuous units (intelligible and strange) of the text. Once these units are available in memory, they activate words part of their semantic fields. An additional reading of our subjects revealed that in the next stage of the process, reader progresses toward elements which are semantically connected to the items previously assimilated. The non-linear reception leads to a marked change in the functioning of certain concepts in the literary theory. The terms "begining", "end" and "surprise" are reconsidered data generated in the experiments
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Pugh, Christopher. "The late twentieth-century British father poem : searching for the male self." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391065.
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TORRES, Luana Uchôa. "Três canções sobre o poema Retrato de Cecília Meireles: um estudo retórico-musical." Universidade Federal de Goiás, 2011. http://repositorio.bc.ufg.br/tede/handle/tde/2701.
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Previous issue date: 2011-03-30This work develops an analysis from the angle of the relationship text-music, aiming to support the performance of three songs for voice and piano written on the poetry Retrato by the Brazilian poet Cecilia Meireles, by the composers Antonio Ribeiro, Osvaldo Lacerda and Ronaldo Miranda. It is included in the field of the musical and poetic analysis, the technical study of performance and the study of Brazilian art song. To carry out this research it was used bibliographical and documentary survey with direct and indirect reference, analysis of scores of the songs chosen for study, preparing them for public performance; a critical challenge and new interpretative proposals from the collected data. The importance of this research is confirmed because in Brazil there are few studies aimed at substantiating the artistic interpretation of contemporary chamber song from the musical-rhetorical angle. This work, therefore, may improve the relation with the current musical practice, contributing to the creation and consolidation of music research in Brazil.
Este trabalho desenvolve uma análise pelo ângulo da relação texto-música, objetivando subsidiar a performance de três canções para voz e piano escritas sobre o poema Retrato da poetisa brasileira Cecília Meireles, pelos compositores Antonio Ribeiro, Osvaldo Lacerda e Ronaldo Miranda. Para tanto, abrange o campo da análise musical e poética, o estudo técnico da performance e o da canção de arte brasileira. Para a realização dessa pesquisa utilizou-se o levantamento bibliográfico e documental de referência direta e indireta, a análise das partituras das canções escolhidas para estudo, preparando-as para performance em público e fornecendo novas propostas interpretativas a partir dos dados coletados. A importância desta pesquisa confirma-se pelo fato de que, no Brasil, existem poucos estudos direcionados a fundamentar a interpretação artística da canção de câmara contemporânea pelo ângulo retórico-musical. Esse estudo, portanto, poderá aprimorar a relação com a prática musical atual, contribuindo na criação e consolidação da pesquisa em música no Brasil.
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Pihl, Per-Jonas. "Den supglade rallaren? : Manligt och omanligt i norrbottniska rallarvisor, 1880-tal till 1937." Thesis, Umeå universitet, Institutionen för idé- och samhällsstudier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-172285.
Повний текст джерелаАнотація:
This study examines notions of manliness among railway navvies from Norrbotten during the period from the 1880s to 1937. Navvy songs and poems are used in order to answer the purpose of this thesis. The method is qualitative and the paper should be viewed as descriptive utilizing a partly untried material as basis for investigation. The results are compared with previous research concerning both working class and middle class and there are both similarities and differences with previous research. The navvies wanted to describe themselves as persons who were able to drink alcohol in large amounts. However this fact was mainly valid for the older navvys which indicates a difference with previous research. The navvies used a rough language, were happy andliked freedom, they emphasized manual labour and were persistent and patriotic.
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Anderson, Stephen Reg. "Heart of the Fathers, for Wind Symphony." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2546/.
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Heart of the Fathers is a programmatic, seven movement work for wind symphony depicting my ancestors and their role as part of the history of The Church of Jesus Christ of Latter-day Saints. The movements represent their spiritual experiences, labors, times of joy, persecution, migration, and finally their arrival and success in their new homeland.
The piece is organized in seven movements. Each movement represents a different portion of history leading to the western migration of my ancestors. The programmatic music contains a variety of symbols depicting the experiences of the pioneers.
In the paper, each chapter addresses an individual movement. For each movement, the following information is provided: the historical events that inspired the piece, the musical symbols that characterize the program, and an analysis of the function of the music.
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Couturiaux, Clay. "The Nightingale's Flight from Opera to Symphonic Poem: A Comparative Study of The Nightingale and The Song of the Nightingale by Igor Stravinsky." Thesis, view full-text document, 2000. http://www.library.unt.edu/theses/open/20003/Couturiaux%5Fclay/index.htm.
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Oliveira, Maria Claudete de Souza. "Presenças de Orfeu." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-05102007-152243/.
Повний текст джерелаАнотація:
Os mitos devolvem aos homens os seus próprios conflitos; como metáforas, eles \"desempenham sua função de falar\" aos \"níveis profundos do ser humano\". Com o correr do tempo, essas figuras de linguagem podem ir perdendo a capacidade de serem absorvidas, mas os artistas, \"de acordo com suas disciplinas e artes\", fazem-nas emergir \"do contexto contemporâneo da experiência\". Partindo dessas premissas, foram feitas e em seguida confrontadas as análises dos poemas \"Legado\" e \"Canto órfico\", de Carlos Drummond de Andrade; da peça,\"Orfeu da Conceição: Uma tragédia carioca\" de Vinícius de Moraes e dos dois filmes baseados nela: Orfeu negro, de Marcel Camus e Orfeu, de Carlos Diegues. Num primeiro momento, diferenciando-se do Orfeu de Drummond - que se define e define o que vê, mais próximo, talvez, do caráter apolíneo do mito - o Orfeu de Vinícius promove, ou deseja promover a dissolução dionisíaca das diferenças, inclusive sociais, sugerida pela figura do cantor do morro: Orfeu da Conceição; mas, aproximando-nos mais um pouco dessas retomadas, sem que a primeira impressão deixe de existir, podemos observar também a expressão \"dionisíaca\" do primeiro autor, assim como a expressão \"apolínea\" do segundo e, comum a estas duas expressões, a crença no valor artístico da poesia e do canto. A presença de Orfeu nos filmes de Marcel Camus e de Carlos Diegues (que, como na peça, atualizam o mito em uma favela, na mesma década da estréia da peça, e quarenta anos depois dela, respectivamente) confirma a capacidade do canto e da arte de transformar a \"agonia em elegia\", como fizeram Carlos Drummond de Andrade e Vinícius de Moraes.Myths are giving back to mankind their own conflicts. As metaphor \"they play their role\" to talk \"to the deep levels of mankind\". As time goes by, these language figures can loose their absorption capacity but artists \"in accordance with their disciplines and arts\" are reviving them \"in the contemporary context of experience\". Starting from this observation, an analysis and a comparison of the following works are done : \"Legado\" & \"Canto orfico\", poems from Carlos Drummond de Andrade, \"Orfeu da conceiçao, a Carioca tragedy\" from Vinícius de Moraes and two movies \"Orfeu Negro\" from Marcel Camus & \"Orfeu do Carnaval\" from Carlos Diegues. The first impression in Vinícius- Orfeo is that he promotes or wants to promote the Dionisyac dissolution of differences suggested by the singer on the \"morro\": Orfeu da Concecao. This first impression is different in Drummond\'s Orfeo who defines himself and defines what he sees as closer perhaps to the Apollinic character of the myth. But getting closer to Orfeu\'s remake one can observe the Drummond Dionisyac expression as well as the Appolinic expression of Vinícius inverting the first impression but keeping in both the ethical feeling in front of the indifferent world to myth and the belief in the value of poetry and songs. The presence of Orfeu in the movies of Marcel Camus and Carlos Diegues which as in the play are bringing up to date the myth in a \"favela\", during the same decade of the play and forty years later respectively, are confirming the capacity of songs and art to transform \"agony in elegy\" as Carlos Drummond de Andrade and Vinícius de Moraes did with their works
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Brillant, Nathalie. "Le lecteur et son poème, lire en poésie : expérience littéraire et enjeux pour l'enseignement du français au lycée." Rennes 2, 2010. https://www.bu.univ-rennes2.fr/contenu/lecteur-et-son-poeme-lire-poesie-experience-litteraire-et-enjeux-lenseignement-du-francais.
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Après avoir questionné la place de la poésie dans le champ actuel des genres littéraires et éclairci les attentes de l’Institution scolaire à son sujet, la thèse propose d’analyser trois types de traces phénoménologiques de la lecture de poésie : celles de lycéens, celles de trois poètes contemporains – A. Du Bouchet, Ph. Jaccottet, S. Stétié – et celle de l’enseignante engagée dans la recherche, à travers la méthode expérimentale de l’autolecture. Dans les trois cas, la poésie travaille à rendre présents le réel et l’instant de la lecture, par une configuration toujours singulière des rythmes, des images, de la langue et des sons. La poésie questionne les matériaux de la langue et le sens par les sens : l’imaginaire et l’énonciation du lecteur en font une expérience de sujet engagé. La lecture crée le poème car c’est par elle qu’il s’actualise, de façon performative, dans la voix d’un sujet ; elle trace un sens quin’est pas entier et prédéterminé, mais inaugural. Il faut aussi admettre qu’il existe des étapes, voire des échecs de la lecture, que le lecteur idéal n’existe pas. Les textes de lecture des poètes permettent de repérer quelques processus de la lecture de poésie, comme la narrativisation, la métaphorisation, l’investissement axiologique, ils incitent aussi à penser des modes de restitution et de partage de la lecture alternatifs aux exercices scolaires canoniques. L’objectif est alors d’éveiller une polyphonie poétique, d’activer des signifiances nouvelles sur des bases sensorielles, symboliques, associatives et interlectorales. Dès lors, l’enseignement de la poésie ne devrait plus s’en tenir à activer des prototypes littéraires et à évaluer des compétences ; il s’agirait d’éveiller chez le jeune lecteur différents plaisirs du texte à travers la lecture comprise comme évènementAfter investigating the place of poetry in the current field of literary genres and clarifying what educational institutions expect from poetry, this thesis analyses three types of phenomenological traces of poetry reading : that of secondary school pupils, that of three contemporary poets A. Du Bouchet, Ph. Jaccottet, S. Stetie, and that of the teacher engaged in this research, using the experimental method of self-reading. In all three cases, poetry aims to reveal the reality and immediacy of the text through a unique amalgamation of rhythms, images, language and sounds. Poetry questions the building blocks of language and meaning through the senses: the imagination and delivery of the reader bring about a committed experience. The reading creates the poem because it is through this reading that the poem comes to life, through performance, in the reader’s voice. The reading reveals meaning which is not complete or predetermined, but inaugural. It must also be said that there are stages and setbacks in the reading and that the ideal reader does not exist. Poetry texts demonstrate processes of poetry reading such as narrativization, metaphorisation, axiologic investment. They also make us think of alternative ways of reading from the usual school recitations. The aim is therefore to awaken a poetic polyphony and to bring to life new meanings in terms of emotions and symbols, associations and group readings. In the future the teaching of poetry would no longer be restricted to the passing on of literary prototypes and the testing of skills. The event of poetry reading should awaken in young people the various pleasures of the poetic text
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"Two Poems of the Song Dynasty." Master's thesis, 2012. http://hdl.handle.net/2286/R.I.15919.
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abstract: TWO POEMS OF THE SONG DYNASTY is an original composition for soprano voice and orchestra. The duration of this two-movement work is approximately 10 minutes. The instrumentation is: Flute 1, 2, Oboe 1, 2 (doubling English Horn), Clarinet in Bb 1-2, Bassoon 1-2, Trumpet in Bb 1-3, Horn in F 1 - 4, Tenor Trombone 1-2 , Bass Trombone, Tuba, Timpani, Vibraphone, Cymbals, Triangle and Strings. This piece is of moderate difficulty; to be sung in Chinese with elements of sprechstimme and a vocal range from C4 to A5. The two movements, "Sheng Sheng Man" and "Yong Yu Le" refer to old poetic forms from the Song Dynasty (1127-1279). The poets Li Qingzhao and Xin Qiji provide contrasting laments for the wars of their time; the first is an introverted metaphor of sorrow and the second is a more explicit recollection of old times.Dissertation/Thesis
M.M. Music 2012
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Li, Pin-yeh, and 李品曄. "Confinement and aspiration in the poems of female poets in Song Dynasty." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/39500791186754469918.
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碩士國立中央大學
中國文學系碩士在職專班
100
This thesis discussed the confinement and aspiration in the poems of female poets of Song Dynasty from five different angles: philosophy and culture, social system, wars, love affairs, and living space. From the perspective of philosophy and culture, the neo-Confucianists of the Northern and Southern Song emphasize morality and ethical standards, which influence women''s ethical education, home education and the notion of chastity. The popularity of neo-Confucianism and the etiquette of the society help develop the standards of moral integrity that female poets pursuit. From the angle of social system, Song Dynasty is a patriarchal society. Its law, family values, custom and all walks of life result in the gender bias. The poetry of female poets from different social class was analyzed and poets'' aspiration to free themselves from social class and to search for their self-integrity was further probed. From the aspect of wars, the impact of which to female poets is sketched in full. The poets’ viewpoints to the politics, history, and the life of common people are revealed through the emotional description to the fall of a nation and the nostalgia in the poetry. As to love affairs, the female poets’ poems with love and affection subjects are analyzed. Those poems contain many different kinds of experiences, expectations, and ways of expressions. As to living space, the female poets’ livelihood in Song dynasty is analyzed to know the characteristics of their life and what they aspire to. Though the discussion above we have a clear understanding about the various life confinements the female poets face to, and realize the connotation in their poetry, the creation motivation, and their aspiration for life.
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Chieh, Wang Ying, and 王盈潔. "A Study on Writing Poems in a Dream among Poets of Song Dynasty." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/88914261971681415828.
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博士玄奘大學
中國語文學系碩博士班
99
As some kind of link and similarity exist between a dream and a poetic realm, writing poems in a dream is a further connection of “dreams” and “poems”. Can reading such works bring us closer and deeper into the aesthetics of a poem? As amusing as such questions might sound, it is no easy task to address. It was not until the middle and late periods of Tang Dynasty that a small quantity of poems titled as “Written in a Dream” appeared in the Chinese history of poetry. In the Song Dynasty, poets who wrote in dreams were estimated to be near one hundred and such poems totaling at more than two hundreds, both of which could provide enough material for research work. The current paper deals with the major features of writing poems in dreams among poets of Song Dynasty, and explores such poetry in three respects of time and space, characters and incidents. Other poems written by the same poet are cited as a reference to those written in dreams. This paper aims to accentuate the characteristics of poems which were written in dreams in an objective and discreet manner so as to avoid excessive extensions.
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Li-JunGuo and 郭俐君. "The Tang Poems in “ Liang-song”and “Qilu” area：The Geographical Writing of Foreign Poets." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/17297129319397030904.
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