Relevant bibliographies by topics / Literary/musical aesthetics

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Literary/musical aesthetics'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Literary/musical aesthetics"

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Park, So-Jeong. "Musical Metaphors in Chinese Aesthetics." Journal of Chinese Philosophy 47, no. 1-2 (2020): 31–48. http://dx.doi.org/10.1163/15406253-0470102006.

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According to the conceptual metaphor theory, a metaphor is not just a rhetorical device but rather a fundamental conceptual framework operating at the level of thinking. When one describes a painting as “musically moving” or “melodious,” one transfers a conceptual framework of music from its typical domain into a new domain where neither musical movement nor melody takes place. In this light, the extensive use of musical metaphors based on qì-dynamics such as “rhythmic vitality” or “literary vitality” for art criticism in early China can be deemed as conceptual mappings between music and other
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Watkins, Holly. "Romantic Musical Aesthetics and the Transmigration of Soul." New Literary History 49, no. 4 (2018): 579–96. http://dx.doi.org/10.1353/nlh.2018.0036.

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Shykyrynska, O. "MUSICALISATION OF J. BUNYAN’S AND H. SKOVORODA’S LITERARY DISCOURSE." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 35 (2019): 372–84. http://dx.doi.org/10.17721/2075-437x.2019.35.36.

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The article deals with the musical space of the artistic heritage of J. Bunyan and H. Skovoroda that has many common features. The general place in the heritage of both writers is reference to solemn church or angelic singing, accompanying the scenes of triumph of the heroes. There are numerous quotations from the Bible psalms, that both writers mastered perfectly. Outplaying of the mythologemes “a man as a musical instrument” and “a world as a musical instrument” became common for both authors. Musical code is expressed in comparison with man’s features and musical sounds; assimilation of the
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Тетяна Младенова. "ORIENT В. А. МОЦАРТА: ВІД АЛЮЗІЇ ДО ЕТИКО- ЕСТЕТИЧНОЇ СТИЛЬОВОЇ МОДЕЛІ". World Science 2, № 4(56) (2020): 14–20. http://dx.doi.org/10.31435/rsglobal_ws/30042020/7028.

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Throughout the history of music, the dialogue of cultures in the West- East discourse has produced various Orientalism models. Introducing a fashion for oriental decorations in Europe, using new instruments, borrowing modes of musical expression, as well as alluding to signs and symbols of oriental religions and philosophies gave rise to reshaping European musical aesthetics as early as the 18th century. At that time, Wolfgang Amadeus Mozart and his work were undoubtedly pivotal for the art. One can retrospectively observe that Turkish Janissary musical traditions significantly freshened and e
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Reed, Brian. "Literary Modernism and Musical Aesthetics: Pater, Pound, Joyce, and Stein by Brad Bucknell." ESC: English Studies in Canada 30, no. 3 (2004): 192–96. http://dx.doi.org/10.1353/esc.2004.0044.

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Holbrook, Morris B., and Punam Anand. "The Effects of Situation, Sequence, and Features on Perceptual and Affective Responses to Product Designs: The Case of Aesthetic Consumption." Empirical Studies of the Arts 10, no. 1 (1992): 19–31. http://dx.doi.org/10.2190/u8t0-kvr3-64xg-yp3a.

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This article proposes a general model in which various situational and sequential aspects of consumer behavior combine with features of a product to determine perceptions and their affective consequences. It illustrates this model by means of an example from applied empirical aesthetics and investigates the effects of tempo on perceptual and affective aesthetic responses to music. In particular, a new analysis of some data drawn from consumer aesthetics demonstrates the intervening role of perceived activity in mediating the effects of musical tempo on affect across a sequence of listening exp
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Simonton, Dean Keith. "Musical Aesthetics and Creativity in Beethoven: A Computer Analysis of 105 Compositions." Empirical Studies of the Arts 5, no. 2 (1987): 87–104. http://dx.doi.org/10.2190/b94k-cp9n-vut8-rlkh.

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A fundamental task in empirical aesthetics is to determine why some artistic creations earn the label “masterpiece” whereas others slip into oblivion. Computer content analyses can help us achieve this goal, first, by isolating connections between the differential aesthetic success of diverse works and their content attributes, and, second, by identifying the compositional, biographical, and historical correlates of those content analytical predictors. After reviewing the key findings with respect to the thousands of musical pieces defining the classical repertoire, this investigation strategy
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Feldman, Martha. "Rore's selva selvaggia: The selva selvaggia of 1542." Journal of the American Musicological Society 42, no. 3 (1989): 547–603. http://dx.doi.org/10.2307/831505.

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This study attempts to develop a new perspective on the styles of the mid-century Italian madrigal represented by Rore and Willaert through examination of the literary contents and musical expression of Rore's Primo libro of 1542 and a comparison of its character with that of Willaert's Musica nova, written about the same time. Textual exegesis demonstrates the boldly Dantean character of some of Rore's poetic choices in an age troubled by Dante's often harshly graphic descriptions in the Inferno. Musical analysis shows how Rore translated this concrete style of language into a distinctive mad
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Detels, Claire. "Soft Boundaries and Relatedness: Paradigm for a Postmodern Feminist Musical Aesthetics." boundary 2 19, no. 2 (1992): 184. http://dx.doi.org/10.2307/303539.

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Sobolev, Alexander. "Free Aesthetics Society (1906–1917). Chronicle materials." Literary Fact, no. 15 (2020): 384–457. http://dx.doi.org/10.22455/2541-8297-2020-15-384-457.

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The history of the Moscow Free Aesthetics Society (1906–1917), based on insufficiently and unevenly studied sources, remains on the periphery of research interest. The main purpose of the present publication is to fill this gap. The introduction to the chronicle of the Free Aesthetics Society briefly presents the nature of its activities and its members, including I.I. Troyanovsky, V.Ya. Bryusov, B.N. Bugaev (Andrei Bely), N.R. Kochetov, V.V. Perepletchikov, V.I. Girschan, A.P. Botkin et al. The classification of used sources is made: the society's own reports (handwritten and printed), includ
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Dissertations / Theses on the topic "Literary/musical aesthetics"

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Barry, K. M. "Language, music and the sign : A study in aesthetics, poetics, and poetic practice form Collins to Coleridge." Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377253.

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Priestley, John. "Poiesthetic play in generative music." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3403.

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Generative music creates indeterminate systems from which music can emerge. It provides a particularly instructive field for problems of ontology, semiotics, aesthetics, and ethics addressed in poststructuralist literary theory. I outline how repetition is the ultimate basis of musical intelligibility and of memory in general. The extension of these abstractions beyond tonal music to sound in general is afforded by the concrete iterability of audio recording media. Generative systems delineate a music that is repeatable in principle and in certain qualities, though not in specific forms; a mu
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Bigna, Daniel Humanities &amp Social Sciences Australian Defence Force Academy UNSW. "Life on the margins : the autobiographical fiction of Charles Bukowski." Awarded by:University of New South Wales - Australian Defence Force Academy. School of Humanities and Social Sciences, 2005. http://handle.unsw.edu.au/1959.4/38717.

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Charles Bukowski devoted his writing career to turning his own life into poetry and prose. In poems and stories about his experiences as one of the working poor in post war America, and in those depicting his experiences as a writer of the American underground, Bukowski represents himself as both a literary and social outsider. Bukowski expresses an alternative literary aesthetic through his fictional persona, Henry Chinaski, who struggles to overcome his suffering in a world he finds absurd, and who embarks on a quest for freedom in his youth to which he remains committed all his life. This t
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Kalal, Peter. "As Written: Literary Configurations of Musical Ineffability in the Nineteenth and Twentieth Centuries." Thesis, 2021. https://doi.org/10.7916/d8-9e46-1406.

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As Written presents an investigation of selected literary configurations of musical ineffability in the nineteenth and twentieth centuries. By putting literary parables into constellation with media technologies and texts from philosophy, critical theory, aesthetics, and media theory, the dissertation seeks to better understand the ways in which literature engages, discloses, disrupts, and determines musical discourse at times of aesthetic, political, and technological shift. The dissertation begins by establishing the “cryptographic” ineffable that emerges in early German Romanticism
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"The "American Sublime" in Symphonic Music of the United States: Case Study Applications of a Literary and Visual Arts Aesthetic." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.62715.

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abstract: The American sublime aesthetic, discussed frequently in literature and art of the United States, is equally manifest in the nation’s symphonic music as a concurrent and complementary aesthetic. The musical application of the American sublime supports and enriches current scholarship on American musical identity, nationality, and the American symphonic enterprise. I suggest that the American sublime forms an integral part of nineteenth-century American music and is key to understanding the symphony as a genre in the United States. I discuss American symphonic works by Anthony Philip H
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Moravčíková, Eva. "Využití prvků uměleckých výchov ve vyučování němčině jako cizímu jazyku (se zaměřením na dramapedagogiku a práci s obrazovou knihou "Královna barev" od Jutty Bauerové)." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-297410.

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Title: Using elements of art education in teaching German as a foreign language (with a focus on drama pedagogy and work with picture book "Queen of Colour" by Jutta Bauer) Summary: My thesis is focused on integration of aesthetic elements into a German language lesson. Such elements help to improve students' language resources and language skills and they also help to develop their personality. The subject of my work is relation between the language and art - particular art education, namely dramatic, musical, and literary - partly - art education and their application in a foreign language l
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Books on the topic "Literary/musical aesthetics"

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Literary modernism and musical aesthetics: Pater, Pound, Joyce, and Stein. Cambridge University Press, 2001.

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Konet︠s︡ vremeni kompozitorov. Russkiĭ putʹ, 2002.

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Le surgissement créateur: Jeu, hasard ou inconscient. L'Harmattan, 2011.

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Häussling, Roger. Zur Rolle von Kreativität heute: Versuch eines Diskurses zwischen Gegenwartsphilosophie, Nietzsches Denken und aktueller Musik. Königshausen & Neumann, 1999.

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Aleksandr Nikolaevič Skrjabin nel simbolismo russo. La nuova Italia, 1994.

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Pokotilo, O. A. Zhiznʹ muzyki: Muzykalʹnyĭ prot︠s︡ess kak t︠s︡elostnoe obrazovanie. Bank kulʹturnoĭ informat︠s︡ii, 2000.

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Pokotilo, O. A. Zhiznʹ muzyki: Muzykalʹnyĭ prot︠s︡ess kak t︠s︡elostnoe obrazovanie. Bank kulʹturnoĭ informat︠s︡ii, 2000.

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F, Harris James. Philosophy at 33 1/3 rpm: Themes of classic rock music. Open Court, 1993.

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L' opéra symboliste. L'Harmattan, 2007.

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Lecler, Eric. L' opéra symboliste. Harmattan, 2006.

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Book chapters on the topic "Literary/musical aesthetics"

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McGrath, John. "Musico-literary interaction in modern Ireland and the musical aesthetic of Samuel Beckett." In Samuel Beckett, Repetition and Modern Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315607566-4.

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Etherington, Ben. "Claude McKay’s Primitivist Narration." In Literary Primitivism. Stanford University Press, 2017. http://dx.doi.org/10.11126/stanford/9781503602366.003.0007.

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This chapter considers Claude McKay’s novels Home to Harlem and Banjo as attempts to undertake literary primitivism’s project of immediacy by means of a musical aesthetics. Exploring his relationship both to the negritude poets and to Lawrence, especially the latter’s Aaron’s Rod, it argues that of all the writers discussed in this book, McKay’s work most strenuously attempts to enter the immediate mode. In McKay’s novels the hope for a reconciliation of reflexivity and immediacy, the primitive and the civilized is enacted simultaneously at the level of prose style and narrative structure. This allows us to identify a number of fissures and contradictions that beset the aesthetics of primitivism, especially the pitfalls of a utopian racialism.
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Kuang, Lanlan. "(Un)consciousness? Music in the Daoist context of nonbeing." In Music and Consciousness 2. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198804352.003.0018.

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This chapter explores the interpretation of music as a philosophical concept within the context of Chinese aesthetics. A particular focus is the Daoist connection of music with psychological concepts such as consciousness, the experience of time, and the emergence of memory in space and time. The human body, regarded as both physical and spiritual, is an integral element of Daoism, which offers a route to understanding consciousness as coterminous with being and nonbeing, and to linking the latter to music. In the Daoist tradition nonbeing, in musical time, brings forth dynamic and temporal connections between the conscious and the unconscious through memory. The chapter uses the programmatic title and literary preface of Seagulls and Forgetting Schemes, a Song dynasty qin piece, as an exemplar of the Daoist aesthetic of (un)consciousness, approached as both an ideal comprising a world or state of enlightened detachment and an aesthetic activity for cultivating such a world or state.
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Bolden, Tony. "Blue Funk." In Groove Theory. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830524.003.0003.

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This chapter examines the development of funk as a distinct concept in black vernacular culture, and explains how blues artists, modern jazz musicians, and political attitudes during the civil rights movement combined to establish the foundation for the musical genre of funk as well as the non-conformist aesthetics and attitudes the music expressed. The central argument is therefore two-fold: that blues artists formulated the concept now known as funk, and that funk became the epistemic centerpiece of a broader cultural aesthetics in black working-class environments. As with the previous chapter, “Blue Funk: The Ugly Beauty of Stank ” foregrounds the central role of kinesthesia in blues-oriented approaches to music-making. Using insights and methods from multiple areas of scholarship, including musicology, ethnomusicology, philosophy, literary criticism, dance criticism, and art history, Bolden explains how the concept of funk and/or precepts associated with funk were not only exemplified in several black musical genres but also dancing, literature, and visual art as well. In this way, black artists working in several mediums contributed to the transformation of “funky” from a stigmatizing signification, that is, a negative, stereotypical expression into a metaphor of black cultural affirmation.
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Adams, Jade Broughton. "‘The One about Sitting on His Top Hat and Climbing up His Shirt Front’: Fitzgerald and Musical Theatre." In F. Scott Fitzgerald's Short Fiction. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474424684.003.0005.

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This chapter shows how Fitzgerald drew upon musical comedies of the stage and screen to inform his characterisation, plotting, and integration of song with dramatic action. Using his ‘playlet’, ‘Porcelain and Pink’, as a case study, this chapter shows how Fitzgerald’s use of song underscores themes of concealed identity and satirises the consumption and advertising practices of his era. This chapter argues that the intersection of morality and entertainment, depicted in the iconic flapper figure, characterises much of Fitzgerald’s presentation of popular culture. Though he did not continue his undergraduate occupation of writing libretti for Princeton’s Triangle Club, Fitzgerald continued to allude to songs from musicals throughout his career. This chapter explores how Fitzgerald’s use of the disguise motif, amongst other literary techniques, has analogues in musical comedies, and argues for certain of his stories, like ‘The Captured Shadow’, to be read in the context of the stage and film musicals Fitzgerald enjoyed, such as those featuring Irving Berlin’s work. It is argued that it is Fitzgerald’s fascination with the theatre that fuels his lifelong interest in participative, even immersive, media. This chapter analyses the influence of film musicals on Fitzgerald’s aesthetics, particularly in terms of their lavish visual spectacle.
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Bohlman, Philip V. "The Folk Song Project at the Confluence of Music and Nationalism." In Song Loves the Masses. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520234949.003.0004.

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Published in six folios during 1778 and 1779, Herder’s Volkslieder (Folk songs) has been one of the most influential works in modern intellectual history, even though it has never before appeared in English translation. The Volkslieder not only became the first collection of world music—songs came not only from many regions of Europe, but also from Africa, the Mediterranean, and South America—but also served as the source for European composers throughout the nineteenth century. Aesthetics, ethnography, and literary and cultural history converge to transform modern musical thought. Part one of the chapter contains translations from Herder’s own introductions to the songs, and part two contains twenty-four songs that represent the paradigm shift inspired by this monumental work on folk song.
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Bolden, Tony. "Funky Bluesology." In Groove Theory. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830524.003.0006.

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This chapter examines Gil Scott-Heron as an exemplar of the socio-political manifestation of the contrarianism in funk aesthetics. Combining biographical information from Scott-Heron’s memoir and interviews, critical methods from literary scholarship, and insights from philosophy, the chapter highlights Scott-Heron’s understanding of the blues as a locus of black aesthetics and political philosophy. In doing so, the chapter illuminates Scott-Heron’s prescience, and examines many of his multiple talents, including poetry, songwriting, singing, and playing keyboards. Unlike most recording artists, however, Scott-Heron was influenced by writers, especially the Black Arts writers who generally believed that artists should create primarily for working-class African Americans. Consequently, he curtailed his budding career as a novelist and shifted his concentration to performing and recording songs and poems in the early 1970s. The chapter includes textual analyses of key recordings as well as discussions of Scott-Heron’s satire and social criticism. Additionally, Bolden highlights musical aspects of Scott-Heron’s appeal, especially the timbre of his voice but also the musicianship of the Midnight Band, which he co-led with longtime collaborator Brian Jackson.
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Radhakrishnan, Ritu. "Beyond Anne Frank." In Critical Literacy Initiatives for Civic Engagement. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8082-9.ch004.

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This chapter addresses the ways in which aesthetic practices provide educators at all levels and across disciplines with practical tools for enhancing critical literacy in pursuit of responsible citizenship. Engaging with aesthetics allows students to create meaning-making experiences and explore their own thinking about a topic and provides students with an opportunity to create meaningful experiences to address social action. Sharing of these processes and creations is often less polarizing than dialogues or debates and allows for inclusion of students with multiple modalities and talents. This curricular approach is more than simply creating an arts-integrated curriculum. Students should be creating, critiquing, and engaging with various forms of aesthetics (e.g. visual, drama, dance, music, etc.).
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Radhakrishnan, Ritu. "Beyond Anne Frank." In Research Anthology on Instilling Social Justice in the Classroom. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7706-6.ch013.

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This chapter addresses the ways in which aesthetic practices provide educators at all levels and across disciplines with practical tools for enhancing critical literacy in pursuit of responsible citizenship. Engaging with aesthetics allows students to create meaning-making experiences and explore their own thinking about a topic and provides students with an opportunity to create meaningful experiences to address social action. Sharing of these processes and creations is often less polarizing than dialogues or debates and allows for inclusion of students with multiple modalities and talents. This curricular approach is more than simply creating an arts-integrated curriculum. Students should be creating, critiquing, and engaging with various forms of aesthetics (e.g. visual, drama, dance, music, etc.).
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Orrells, Daniel. "Decadent aesthetics and Richard Marsh’s The Mystery of Philip Bennion’s Death." In Richard Marsh, popular fiction and literary culture, 1890-1915. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526124340.003.0010.

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Richard Marsh’s fiction made a significant contribution to the arguments that circulated during the 1890s about aesthetics and the commodification of culture. The plots of sensational popular novels and the sights and sounds of the music hall were all deemed unworthy, addiction-inducing forces by cultural commentators at the time. This chapter focuses on The Mystery of Philip Bennion’s Death (1892/1897), a murder-mystery novel in which a work of art – a poisoned Renaissance cabinet – apparently kills its owner, a collector of curios: the dangers of art could hardly be more pressing. Marsh’s novel looks back on a century of writers who have associated fine art with crime, from De Quincey’s provocation that murder could be a fine art to Pater’s and Wilde’s interest in the aesthetics of transgression and the entertaining nature of murder. This chapter explores how Marsh's writing was at the heart of 1890s debates about collecting, aestheticism and decadence.
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Conference papers on the topic "Literary/musical aesthetics"

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Haiawi, Maryam. "Das Oratorium im Spannungsfeld der Konfessionen: Zum interkonfessionellen Austausch von Oratorien im 18. Jahrhundert." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.55.

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The present study deals with interconfessional exchange of oratorios in German-speaking countries during the 18th century. In doing so, it pursues the goal of focusing on the question of the denominational or non-denominational nature of the sacred music genre, a question that has so far been insufficiently discussed in musicological and literary research. It analyses selected oratorios between 1715 and 1781 which were written at important contemporary musical locations and were received interdenominationally (Hamburg, Leipzig, Brunswick, Catholic imperial court of Vienna, Catholic Saxon court
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