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Journal articles on the topic 'Interrelationship of poetry and music'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Basile, Donna. "Music and Poetry." Music Educators Journal 80, no. 4 (1994): 58. http://dx.doi.org/10.2307/3398734.

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2

Anonymous and Andrew Schelling. "Music and Poetry." Manoa 25, no. 2 (2013): 38–39. http://dx.doi.org/10.1353/man.2013.0050.

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3

Bachmann, Ingeborg. "Music and poetry." Contemporary Music Review 5, no. 1 (1989): 139–41. http://dx.doi.org/10.1080/07494468900640591.

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4

Masserman, Jules H. "Poetry as music." Arts in Psychotherapy 13, no. 1 (1986): 61–67. http://dx.doi.org/10.1016/0197-4556(86)90009-2.

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5

Joshi, Anita. "POETRY AND CARTOGRAPHY." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 207–15. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3739.

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Art and poetry complement each other. The incorporation of poetry into fine arts and fine arts into poetry has given both poetry and art a plushness and fascination. The paper presented explains this interrelationship of poetry and painting, in which the similarity of painting and poetry, contribution to the creation of poetic images and expression in poetry painting have been embodied. कला एवं काव्य एक-दूसरे के पूरक हैं। ललित कलाओं में काव्य और काव्य में ललित कलाओं के समावेश ने काव्य एवं कला दोनों को ही सरसता एवं मोहकता प्रदान की है। प्रस्तुत शोधपत्र काव्य एवं चित्रकला के इसी अंतःसंबंध

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6

Hyunree Cho. "Music Analysis as Poetry." Perspectives of New Music 53, no. 1 (2015): 143. http://dx.doi.org/10.7757/persnewmusi.53.1.0143.

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7

Hyunree Cho. "Music Analysis as Poetry." Perspectives of New Music 53, no. 1 (2015): 143–87. http://dx.doi.org/10.1353/pnm.2015.0007.

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8

Antine, Sarah, and Terry Hauptman. "Poetry: Music, Patience and Form." Bridges 16, no. 1 (2011): 77–85. http://dx.doi.org/10.2979/bridges.16.1.77.

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9

Schwartz, Delmore. "Poetry as Imitation." Perspectives of New Music 24, no. 1 (1985): 102. http://dx.doi.org/10.2307/832761.

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10

Mathews, T. "Art as Music, Music as Poetry, Poetry as Art: From Whistler to Stravinsky and Beyond." French Studies 68, no. 2 (2014): 283–84. http://dx.doi.org/10.1093/fs/knu064.

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11

Williams, C. K. "The Music of Poetry and the Music of Mind." Literary Imagination 7, no. 1 (2005): 19–29. http://dx.doi.org/10.1093/litimag/7.1.19.

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12

Lourie, Dick. "Poetry and the Blues." Journal of Popular Music Studies 13, no. 1 (2001): 111–15. http://dx.doi.org/10.1111/j.1533-1598.2001.tb00018.x.

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13

Righelato, Pat, and David Bromwich. "Skeptical Music: Essays on Modern Poetry." Modern Language Review 98, no. 4 (2003): 976. http://dx.doi.org/10.2307/3737960.

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14

Monson, Craig, and Winifred Maynard. "Elizabethan Lyric Poetry and Its Music." Shakespeare Quarterly 39, no. 3 (1988): 386. http://dx.doi.org/10.2307/2870944.

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15

Thomson, Patricia, and Winifred Maynard. "Elizabethan Lyric Poetry and Its Music." Modern Language Review 84, no. 1 (1989): 117. http://dx.doi.org/10.2307/3731958.

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16

Petrenko, Olha. "Music code of poetry Dmitry Kremeny." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 66, no. 3 (2019): 186–90. http://dx.doi.org/10.33310/2518-7813-2019-66-3-186-190.

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The article deals with the role of musical images in the poetry of Dmitry Kremen. The subject of study is the music code, which is present in many works of the poet. Musical signs, symbols, links play a significant role in vocabulary, phraseology and other ways of poetic expressiveness. Familiarity with the subject world of D. Kremin's poetic texts includes a wide range of concepts related to the world of sounds. The additional accents of a musical-conceptual thesaurus arise when musical cues form certain speech turns that acquire the meaning of metaphors. Musical signs in the lyrics of Dmitry

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17

de Freitas Mourão, Ronaldo Rogério. "Astronomy in Brazilian music and poetry." Proceedings of the International Astronomical Union 5, S260 (2009): 368–74. http://dx.doi.org/10.1017/s1743921311002547.

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AbstractThe rôle of astronomy in the Brazilian cultural diversity –though little known world– has been enormous. Thus, the different forms of popular music and erudite, find musical compositions and lyrics inspired by the stars, the eclipses in rare phenomena such as the transit of Venus in front of the sun in 1882, the appearance of Halley's Comet in 1910, in the Big Bang theory. Even in the carnival parades of the blocks at the beginning of the century astronomy was present. More recently, the parade of 1997, the samba school Unidos do Viradouro, under the direction of Joãozinho Trinta, offe

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18

RODGERS, STEPHEN. "Song and the Music of Poetry." Music Analysis 36, no. 3 (2017): 315–49. http://dx.doi.org/10.1111/musa.12091.

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19

Berger Cardany, Audrey. "From Poetry to Music: Northern Lullaby." General Music Today 24, no. 2 (2010): 37–41. http://dx.doi.org/10.1177/1048371310385211.

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20

O'Hara, Daniel T. "Skeptical Music: Essays on Modern Poetry." Journal of Modern Literature 26, no. 3 (2003): 159–60. http://dx.doi.org/10.1353/jml.2004.0042.

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21

Swiss, Thomas. "Representing rock: Poetry and popular music." Popular Music and Society 18, no. 2 (1994): 1–12. http://dx.doi.org/10.1080/03007769408591550.

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22

Galimullina, Alfiya Foatovna, and Ruslan Zinatullovich Khairullin. "MUSIC CODES IN MODERN RUSSIAN POETRY." Philology and Culture 62, no. 4 (2020): 89–95. http://dx.doi.org/10.26907/2074-0239-2020-62-4-89-95.

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23

Joshi, Manisha. "POETRY – A NATURAL SYMPHONY OF MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3392.

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Music in its essence dispenses with words completely, and tunes, help in imparting its true and deep feelings. An artist’s vision gains his expression through sound – which is his medium of expression. Then there is pitch, tone, its rise and fall which are some of the other important elements that a musician successfully uses to create the magic. But when we try to compare literature with music we have to say that literature, particularly in its poetic form, is certainly endowed with not only tonic quality of its own but has signification of words as well.

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24

Finn, Geraldine. "Setting music to poetry and prose." New Sound, no. 48-2 (2016): 42–52. http://dx.doi.org/10.5937/newso1648042f.

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25

도윤정. "A New Relationship between Poetry and Music - music as Creative Principle of Poetry in Mallarmé's World." Cross-Cultural Studies 44, no. ll (2016): 211–37. http://dx.doi.org/10.21049/ccs.2016.44..211.

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26

McNeil, W. K., and Michael Taft. "Blues Lyric Poetry: An Anthology." American Music 4, no. 4 (1986): 476. http://dx.doi.org/10.2307/3052235.

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27

Lee, Jean. "Movement in Sound/Sound in Movement: Choreographic Answer." Congress on Research in Dance Conference Proceedings 2012 (2012): 103–7. http://dx.doi.org/10.1017/cor.2012.12.

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This essay illustrates the working of the process of music and dance collaboration that has been developed since 2010 by composer Elo Masing and choreographer Jean Lee. It includes exemplification of their empirical work from a first person viewpoint, presented in chronological order. This paper questions how performer(s) to performer(s) interrelationship will affect the performer(s) to spectator(s) interrelationship in live performance, encompassing improvisation and examining spectatorship.

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28

Sychenko, Galina. "“Sung Poetry” of the South Siberian Turks: Interrelations between Music and Poetry." Musicologist 2, no. 2 (2018): 150–65. http://dx.doi.org/10.33906/musicologist.493184.

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29

Cristóbal Hornillos, Rubén. "Music and poetry, two next-door neighbours." Bellaterra Journal of Teaching & Learning Language & Literature 12, no. 4 (2019): 1. http://dx.doi.org/10.5565/rev/jtl3.829.

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30

John, Eileen, and Malcolm Budd. "Values of Art: Pictures, Poetry, and Music." Journal of Aesthetics and Art Criticism 57, no. 1 (1999): 76. http://dx.doi.org/10.2307/432068.

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31

O'Hara, Daniel T. "Review: SKEPTICAL MUSIC: ESSAYS ON MODERN POETRY." Journal of Modern Literature 26, no. 3-4 (2003): 159–60. http://dx.doi.org/10.2979/jml.2003.26.3-4.159.

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32

Goldensohn, Lorrie, and Bruce Michelson. "Wilbur's Poetry: Music in a Scattering Time." New England Quarterly 66, no. 3 (1993): 480. http://dx.doi.org/10.2307/366014.

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33

Cox, Gerry. "Using Music and Poetry to Manage Grief." Illness, Crisis & Loss 18, no. 4 (2010): 355–71. http://dx.doi.org/10.2190/il.18.4.e.

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34

Alkauskas, Giedrius. "Meaning doped with sound: Poetry as music." Acta Linguistica Lithuanica, no. 83 (2020): 328–52. http://dx.doi.org/10.35321/all83-15.

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35

Winn, James A., and Diane Kelsey McColley. "Poetry and Music in Seventeenth-Century England." Notes 55, no. 4 (1999): 904. http://dx.doi.org/10.2307/899597.

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36

Matterson, Stephen, and Bruce Michelson. "Wilbur's Poetry: Music in a Scattering Time." Modern Language Review 88, no. 3 (1993): 744. http://dx.doi.org/10.2307/3734957.

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37

Doughtie, Edward, and Diane Kelsey McColley. "Poetry and Music in Seventeenth-Century England." Yearbook of English Studies 30 (2000): 295. http://dx.doi.org/10.2307/3509281.

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38

Zhixi, Qian, and Casey Schoenberger. "Music, Morality, and Genre in Tang Poetry." Journal of Chinese Literature and Culture 5, no. 1 (2018): 66–94. http://dx.doi.org/10.1215/23290048-4345258.

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39

Arditi, Neil. "Skeptical Music: Essays on Modern Poetry (review)." Philosophy and Literature 25, no. 2 (2001): 368–70. http://dx.doi.org/10.1353/phl.2001.0020.

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40

Matjila, Daniel. "Music in poetry: Poem in the story." Muziki 7, no. 2 (2010): 228–43. http://dx.doi.org/10.1080/18125980.2010.526806.

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41

Albertazzi, Liliana, Luisa Canal, Rocco Micciolo, Fulvio Ferrari, Sebastiano Sitta, and Iacopo Hachen. "Naturally Biased Associations Between Music and Poetry." Perception 46, no. 2 (2016): 139–60. http://dx.doi.org/10.1177/0301006616673851.

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The study analyzes the existence of naturally biased associations in the general population between a series of musical selections and a series of quatrains. Differently from other studies in the field, the association is tested between complex stimuli involving literary texts, which increases the load of the semantic factors. The stimuli were eight quatrains taken from the same poem and eight musical clips taken from a classical musical version of the poem. The experiment was conducted in two phases. First, the participants were asked to rate 10 couples of opposite adjectives on a continuous

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42

Moffitt, John F. "Painting, music and poetry in Velázquez'sLas Hilanderas." Konsthistorisk tidskrift/Journal of Art History 54, no. 2 (1985): 77–90. http://dx.doi.org/10.1080/00233608508604076.

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43

Abbott, H. "POETRY AND MUSIC: A DOOMED LOVE AFFAIR?" French Studies Bulletin 30, no. 113 (2009): 84–87. http://dx.doi.org/10.1093/frebul/ktp033.

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44

Grossman, Allen R. "Skeptical Music: Essays on Modern Poetry (review)." Modernism/modernity 9, no. 2 (2002): 337–39. http://dx.doi.org/10.1353/mod.2002.0027.

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45

Walton, Kendall. "Thoughtwriting—in Poetry and Music." New Literary History 42, no. 3 (2011): 455–76. http://dx.doi.org/10.1353/nlh.2011.0028.

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46

Sankowski, Edward, and Malcolm Budd. "Values of Art. Pictures, Poetry and Music." Journal of Aesthetic Education 31, no. 2 (1997): 108. http://dx.doi.org/10.2307/3333441.

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47

Eddins, Dwight, and B. J. Leggett. "Larkin's Blues: Jazz, Popular Music, and Poetry." South Atlantic Review 65, no. 1 (2000): 177. http://dx.doi.org/10.2307/3201940.

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48

Hammond, P. "Review: Seventeenth-Century Poetry, Music and Drama." Review of English Studies 52, no. 207 (2001): 449–50. http://dx.doi.org/10.1093/res/52.207.449.

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49

Bender, Eve. "Psychiatrist Blends Music, Poetry to Change Society." Psychiatric News 40, no. 13 (2005): 18–19. http://dx.doi.org/10.1176/pn.40.13.00400018.

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50

Gigliucci, Roberto. "Music and Poetry: a Call for Interpretation." Humanitas 66 (December 10, 2014): 407–19. http://dx.doi.org/10.14195/2183-1718_66_21.

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This essay concerns the relationship between Music and Poetry, to arrive to a personal conception of the artwork as an interpretative object. The musico-literature matter is a complex starting point to build an idea according to which the pleasure of understanding is the final purpose of the arts; aim of art is the position of a meaning, but in a realm of ambivalence-ambiguity, or better complexity: the two main examples – very distant but both basic – of Euripides and Mozart constitute the hearth of this contribute.http://dx.doi.org/10.14195/2183-1718_66_21

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