Relevant bibliographies by topics / Poetry set to music

Contents

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

Academic literature on the topic 'Poetry set to music'

Author: Grafiati
Published: 24 April 2022

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Journal articles on the topic "Poetry set to music"

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Hatten, Robert S. "A Surfeit of Musics: What Goethe's Lyrics Concede When Set to Schubert's Music." Nineteenth-Century Music Review 5, no. 2 (November 2008): 7–18. http://dx.doi.org/10.1017/s1479409800003347.

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Of the many possible relationships between music and poetry, which are but a small subset of the possible relationships between music and text, I have chosen a still narrower focus for inquiry. I will investigate two independent, lyric poems whose musically poetic language and form was fully conceived without any expectation that a composer might use their texts as structural scaffolding and expressive inspiration for related, and emergent, musical and artistic ends. Two lyric poems by Goethe, each set by Schubert, will serve to illustrate the conflict between poetic and instrumental/vocal musics, in which the lyric poems inevitably concede something of their music to an appropriation by, and not merely a translation into, another artistic medium. Even when Schubert succeeds in exemplifying, or expanding upon, the symbolic richness of meaning embodied in the poem, we should consider the fate of overwritten meaning embodied in the musical language and form of the poem by itself.
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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 Kremin imply awareness of a wide range of sound associations, which the poet interprets from the standpoint of his own value attitude to them. Beethoven, Chopin, Mozart are the names-symbols of the world music culture, which occupy a significant place in the thesaurus of Dmitry Kremin's poetic texts. Behind these subject designations lies the vast world of artistic and figurative generalization and lyrical and philosophical reflections that are gaining coded meaning. Familiarity with the poetry of Dmitry Kremin proves that the leitmotif of many of his texts is the image of a violin, which acquires different semantic shades. Thus, in Beethoven's poetry, the poet emphasizes the value of music as a special language, devoid of words, but empowered to embody emotional and semantic richness, and therefore capable of being the language of angels. Music code the poetry of Dmitry Kremen is a multidimensional system in which the concept of "music" acts as a concept as a set of meaningful characters and their semantic meanings. In the process of decoding Dmitry Kremin's poetry, one can discover the deep semantic loads of the musical code, on the one hand – as the embodiment of the categories of high, sublime, valuable and eternal in the human sense, on the other – as a symbol of the extra-material, mystical, language of which the angels speak. Decoding the poet's texts is the process of extracting recognition codes and perception codes. The codes of perception in the poetry of Dmitry Kremenya are meaningful loads of texts, its semantic components, which highlight the deep meanings of texts. Through the musical code, the poet embodies the content of the categories of the sublime and the beautiful. The music code shows the understanding of poetry of Dmitry Kremenin a deeply metaphorical sense.
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Steane, John, Boris Ford, and Benjamin Britten. "Benjamin Britten's Poets: The Poetry He Set to Music." Musical Times 136, no. 1828 (June 1995): 309. http://dx.doi.org/10.2307/1004108.

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Watts, Carol. "Set, Unset: Collaboration, Encounter and the Scene of Poetry." Contemporary Music Review 29, no. 2 (April 2010): 145–58. http://dx.doi.org/10.1080/07494467.2010.534921.

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Riman, Kristina, and Helena Pavletić. "Poetske, tematske i leksičke značajke uglazbljene dječje poezije 19. stoljeća na primjeru tekstova Ljudevita Varjačića." Magistra Iadertina 14, no. 2 (November 16, 2020): 87–102. http://dx.doi.org/10.15291/magistra.3148.

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In the second half of the 19th century, children’s poems were mostly published in periodicals and poem collections. Until now less attention has been devoted to the poems that had been set to music and included in the songbooks published in the late 19th century. Ljudevit Varjačić was the acclaimed author of children’s verses used for song lyrics. He is known as a particularly prolific collaborator of the Smilje magazine, whose songs were often set to music. Among other things, he also published “Lira”, a songbook with music notation for male and female school youth, and his poems were set to music in other songbooks for children and youth. Varjačić poems set to music are analysed in this paper with regard to their poetic, thematic and lexical features. His poetry is written with the well-defined overall metric pattern and rhyme, marked by pedagogical and ethical tendencies. Lexical analysis showed several topics on which Varjačić writes: songs that refer to physical work, songs that inspire learning, songs expressing love for mother, patriotic songs, religious songs, and songs about vacation and fun. Although some of these lyrics are still offered to children, we conclude that their poetic, thematic and lexical features are no longer close to the contemporary recipient.
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Qureshi, Regula Burckhardt. "Musical Gesture and Extra-Musical Meaning: Words and Music in the Urdu Ghazal." Journal of the American Musicological Society 43, no. 3 (1990): 457–97. http://dx.doi.org/10.2307/831743.

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This ethnomusicological inquiry into the text-music relationship assumes a broadly contextual perspective that encompasses, but goes beyond, traditional considerations of textual and musical structures with the aim of exploring the sources of meaning for what Edward Cone terms the "gestural character" of the musical utterance. The approach calls for making explicit the ideational framework as well as the performative function of a vocal genre, both of which inform the way its musical idiom serves to communicate a text in performance. The ghazal, subject of this case study, is the principal poetic form in Urdu; it is set to music in a number of related but distinct genres. Illustrated by a set of transcribed and translated examples, the analytical procedure first considers the text-music structure as a performance idiom that is subject to the cultural-historical background norms of Urdu poetry on the one hand and North Indian "light" music on the other. The second stage considers each particular genre in terms of its idiom's specific function in performance. The general conclusion is that music linked to ghazal poetry is structurally constrained by the text as performed, but that purely musical features articulate, and thus link, the text with the content of its performance. Hence ghazal music represents a synthesis of text and context in its embodiment of features drawn from both and expressed directly through a unique vocabulary of musical gestures.
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Winn, Matthew B., and William J. Idsardi. "Musical evidence regarding trochaic inversion." Language and Literature: International Journal of Stylistics 17, no. 4 (November 2008): 335–49. http://dx.doi.org/10.1177/0963947008092501.

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This study investigates an unresolved issue in poetic metrics — the trochaic inversion — the apparent substitution of a trochaic foot in place of an iambic foot in an otherwise iambic line of verse. Various theories have been proposed to explain this metrical variation, including specific metrical units, groupings of beats and offbeats, and constrained definitions of metrical units via concepts such as stress maxima. By positing a structural comparison between the verse and music of set poetry, the current project attempts to evaluate theories of poetic metrics using a new empirical methodology. Specifically, musical settings of iambic poetry with trochaic inversion are examined. Our analysis shows that the musical settings predicted from various prevalent theories do not map neatly onto the actual musical settings, which suggests that they do not adequately describe the actual rhythmic effect of the trochaic inversion. The music instead suggests that we regard this metrical pattern not as a trochee in place of an iamb, but rather as a unary stressed foot followed by an anapest.
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O'Brien, John. "Ronsard, Belleau and Renvoisy." Early Music History 13 (October 1994): 199–215. http://dx.doi.org/10.1017/s0261127900001352.

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Howard Mayer Brown's stimulating paper pays greatest attention to the centrality of Ronsard as the fons et origo for musical settings. One often has the impression, reading the paper, that there was no substantial problem of imitation in these settings: the composers simply took the words supplied by Ronsard and set them to music. In the comments which follow, I want to suggest a different approach to this question of imitation within Renaissance poetry and to ask what effect the issue of imitation itself had in the dialogue between poetry and music in mid sixteenth-century France. The focus I shall be using is the Anacreon of 1554.
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Brown, A. Peter. "Musical Settings of Anne Hunter's Poetry: From National Song to Canzonetta." Journal of the American Musicological Society 47, no. 1 (1994): 39–89. http://dx.doi.org/10.2307/3128836.

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Anne Hunter (1742-1821) seems to have appeared suddenly on the London scene when she provided Joseph Haydn with texts for his English songs published under the fashionable title of canzonettas. Yet long before Haydn arrived in London, she had already established herself as a writer of lyrics for the Scottish national song movement and of the famed "Death Song" of a Cherokee Indian set to "an original Indian air." Some believe that her poems provided a model for Robert Burns. Her lyrics were also set by Johann Peter Salomon and requested by the propagator and publisher of national song in the British Isles, George Thomson.
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Docherty, Barbara. "Sentence into Cadence: The word-setting of Tippett and Britten." Tempo, no. 166 (September 1988): 2–11. http://dx.doi.org/10.1017/s0040298200024256.

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When Addressing a text to be set a composer will, at the extremes, offer it violence or reverence, and a sharp-edged exchange was committed to print in the 1960's concerning the correct relation between parole and musica when sentence (or stanza) is made cadence. In his Conclusion to Denis Stevens's A History of Song, Michael Tippett stated that one of the attributes of the song-writer was the ability to destroy all the verbal music of the poetry he set and to substitute ‘the music of music’. Five years later, in his contribution to the Festschrift for Tippett's 60th birthday, Peter Pears made a spirited denial of this ‘Mantis-like’ proposition: the composer should court his text, designing a musical structure compliant to his purpose while according the words the care of the poet whose art they first were. Behind this genteel shadow-boxing lay a wider issue: whether there were definable canons for the setting of English text (as exemplified by Benjamin Britten, since it was against his vocal works that the felicities and inflations Pears discerned in Tippett's 1943 cantata Boyhood's End and 1951 song cycle The Heart's Assurance were implicitly being measured) and whether Tippett's practice flouted them.
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Dissertations / Theses on the topic "Poetry set to music"

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Hsieh, Ching-Hsuan Lily. "Chinese poetry of Li Po set by four twentieth century British composer: Bantock, Warlock, Bliss, and Lambert." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1086095656.

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Ohki, Hitomi. "American Poet Emily Dickinson Set to Music by 20th Century Composers." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3869.

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When singers perform art songs, how many of them, especially students, learn about the poem and poet behind the lyrics? It might be that a number of singers focus on composers, however not poets. Even in concert programs, it is common to only write the composer’s name. I am one of the singers that has learned lyrics in the last minute before a concert or an examination. I will experiment with changing my learning process and see if that makes any difference when performing the art song.  The purpose of this study is also to focus on the poet Emily Dickinson. Furthermore, to find out about the music of composers from the 20th century onwards using Dickinson’s poems. I choose Aaron Copland’s song cycle “Twelve Poems of Emily Dickinson”.  Finally, I will perform the work and demonstrate if there is a difference in the singing interpretation by studying not only the music but also the poems behind the lyrics. “Who is Emily Dickinson?” The study explores this question first. After researching 100 songs using her poems, I chose three composers, Aaron Copland, Libby Larsen and Niccolò Castiglioni. Thereafter, “Bind me - I can still sing” of Larsen and “Dickinson-Lieder” of Castiglioni is mentioned. Furthermore, the song cycle “Twelve Poems of Emily Dickinson” by Copland is analyzed deeply to find out more about the piece and why the composer was inspired by Dickinson. It was discovered that one is able to understand the piece deeply, knowing not only about the life of the composer, but also the poet leads to a better understanding of the work. From the singer’s point of view, the level of expression and singing performance has improved after researching the poet Emily Dickinson.  The study concludes knowing deeply about the poet that there is no doubt how important the poem is when understanding and interpreting art song.

Soprano: Hitomi Ohki

Piano: Anders Kilström

Aaron Copland (1900-1990)

Twelve Poems of Emily Dickonson

1, Nature, the gentlest mother

2, There came a wind like a bugle

3, Why do they shut me out of Heaven?

4, The world feels dusty

5, Heart, we will forget him!

6, Dear March, come in!

7, Sleep is supposed to be

8, When they come back

9, I felt a funeral in my brain

10, I've heard an organ talk sometimes

11, Going to Heaven!

12, The Chariot

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Bassett, Dennis M. "The Five Song Collections of John David Earnest Set to the Poetry of Robert Bode: A Performer's Perspective." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243567209.

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Timman, Matthew Peter. "The Drum Set Works of Stuart Saunders Smith as a Correlative Trilogy through Compositional Unity and Autobiographical Content as Confession." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1400161867.

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Shortway, Christopher Greg. "Set in motion." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1078.

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Set in Motion is a composition in two movements for an ensemble of 10 instruments that interacts with a computer in real-time performance using Max/MSP software. The instrumental writing in the piece focuses on incorporating electronic composition techniques into acoustic composition. Techniques such as constructing envelopes, shading, and sound masses, which are common in electronic works are applied to the ensemble. Also, the intervals of a major and minor second are important in the instrumental writing. These intervals provided the basis for the material, which was then transformed algorithmically, both in individual lines and whole sections of music. In terms of the electronics, the first movement takes advantage of the interactive possibilities of the software. The electronic part is created through the computer extending, processing, and responding to the instruments. The techniques include extracting small grains of sound from the live instruments and repeating them, analyzing the pitch of the signal and amplifying overtones, and rearranging fragments in blocks of recorded sound. The second movement changes the focus of the electronic sound. The electronics are made of precomposed gestures that compliment the live instruments. These gestures are categorized and selected randomly according to specific characteristics. Filtering and other effects applied to the sounds are chosen randomly as well.
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Rosenbaum, Traci J. "The Music of Turbulence." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1891.

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Wertz, Charles Bradley. "Artistic expression in music and poetry." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3597.

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Blizzard, Amy. "The nightingale in poetry and music." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20031/blizzard%5Famy/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2003.
Accompanied by 3 recitals, recorded Nov. 28, 1994, Mar. 5, 2001, and Feb. 17, 2003. Recording for June 10, 1996 missing. Includes bibliographical references (p. 71-74).
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Dargan, James Thomas. "Gerard Manley Hopkins: poetry and music." Thesis, Boston University, 2006. https://hdl.handle.net/2144/27629.

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Boston University. University Professors Program Senior theses.
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
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Knapp, Christian. "Creating Music Visualizations in a Mandelbrot Set Explorer." Thesis, Linnéuniversitetet, Institutionen för datavetenskap, fysik och matematik, DFM, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-21135.

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The aim of this thesis is to implement a Mandelbrot Set Explorer that includes the functionality to create music visualizations. The Mandelbrot set is an important mathematical object, and the arguably most famous so called fractal. One of its outstanding attributes is its beauty, and therefore there are several implementations that visualize the set and allow it to navigate around it. In this thesis methods are discussed to visualize the set and create music visualizations consisting of zooms into the Mandelbrot set. For that purpose methods for analysing music are implemented, so user created zooms can react to the music that is played. Mainly the thesis deals with problems that occur during the process of developing this application to create music visualizations. Especially problems concerning performance and usability are focused. The thesis will reveal that it is in fact possible to create very aesthetically pleasing music visualizations by using zooms into the Mandelbrot set. The biggest drawback is the lack in performance, because of the high computation effort, and therefore the difficulties in rendering the visualization in real-time.
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Books on the topic "Poetry set to music"

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Benjamin, Britten. Benjamin Britten's poets: The poetry he set to music. Manchester, England: Carcanet, 1996.

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Boris, Ford, ed. Benjamin Britten's poets: The poetry he set to music. Manchester, England: Carcanet, 1994.

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Life is a poem-- often set to music. Middletown, Conn: Southfarm Press, 1999.

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Index to poetry in music: A guide to the poetry set as solo songs by 125 major song composers. New York: Routledge, 2003.

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Fitch, Donald. Blake set to music: A bibliography of musical settings of the poems and prose of William Blake. Berkeley: University of California Press, 1990.

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Fitch, Donald. Blake set to music: A bibliography of musical settings of the poems and prose of William Blake. Berkeley, CA: University of California Press, 1989.

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illlustrator, Olson Julie 1976, ed. Discover America: From sea to shining sea. Salt Lake City, Utah: Stone Mountain, 2014.

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Hans, T. S. C. Walking is dancing, talking is singing =: Sen ge susun, kaji ge duran̂ : the development of Munda poetry, music, and dance : contribution of the Christian church. Ranchi: Project Vikas, 1990.

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Eamonn, Mac Ruairi, ed. Ar Chreag i lár na farraige: Amhráin agus amhránaithe i dToraigh. Indreabhán, Conamara: Cló Iar-Chonnachta, 2002.

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Anstey, Robert G. Anaconda music: Poetry. Vernon, B.C: West Coast Paradise Pub., 1996.

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Book chapters on the topic "Poetry set to music"

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Lindley, David. "Music and Poetry." In A New Companion to English Renaissance Literature and Culture, 264–77. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319019.ch59.

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Bucknell, Brad. "Music." In A Companion to Modernist Poetry, 47–57. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118604427.ch4.

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Feldman, Evan, and Ari Contzius. "Large Ensemble Set-Up." In Instrumental Music Education, 200–212. Third edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429028700-14.

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Martorell, Agustín, and Emilia Gómez. "Contextual Set-Class Analysis." In Computational Music Analysis, 81–110. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-25931-4_4.

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Armstrong, Isobel. "‘A Music of Thine Own’." In Victorian Poetry, 293–348. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315775883-13.

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Davies, Keri. "Blake Set to Music." In Blake 2.0, 189–208. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230366688_14.

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Acquisto, Joseph. "Swann Set to Music." In Proust, Music, and Meaning, 51–72. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47641-4_3.

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Da Costa, Newton C. A., and Décio Krause. "Set-Theoretical Models for Quantum Systems." In Language, Quantum, Music, 171–81. Dordrecht: Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-017-2043-4_16.

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Jones, Bethan. "Lawrence Set to Music." In The Edinburgh Companion to D. H. Lawrence and the Arts, 398–412. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456623.003.0027.

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This chapter considers a number of ways in which musical composers have engaged with and assimilated Lawrence’s poetry (as well as some of his other works and, indeed, his life story), over a 100-year period. Foregrounding texts selected for musical setting, the chapter begins with an analysis of sound, silence, rhythm, repetition and movement in Lawrence’s verse. Subsequently, it explores the various strategies adopted by composers when setting these poems to music. Some create a song from a single poem; some compose song-cycles by combining poems from within a single collection, such as Birds, Beasts and Flowers. Others juxtapose poems from across a range of Lawrence’s verse-books – or combine Lawrence poems with those of other poets. This chapter explores the implications of such choices, offering analyses of musical compositions in which words and sounds have been creatively combined. Composers discussed include Peter Warlock, Benjamin Britten and Arnold Cooke, alongside a number of lesser-known contemporary figures, whose works (spanning a number of genres) bring Lawrence to a new generation.
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"Of Rhythmic Music." In Critical Reflections on Poetry and Painting (SET), 644–53. BRILL, 2021. http://dx.doi.org/10.1163/9789004465947_097.

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Conference papers on the topic "Poetry set to music"

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Мир-Багирзаде, Ф. А. "Oriental symbolism of the ballet "Seven beauties" based on the poem by Nizami Ganjavi." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.91.54.086.

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автор исследует творческие интерпретации произведения поэта-гуманиста Низами Гянджеви (XII в.) из цикла «Хамсе» «Семь красавиц». Поэт, был подлинным эрудитом, знатоком не только коранических текстов, истории, античной и мусульманской философии, но и астрономии. Данная статья – попытка проследить ориентальную символику образов Гянджеви в одной из творческих интерпретаций поэмы «Семь красавиц», через призму хореографического и сценографического искусства. Метод исследования – семиотический анализ, объект исследования – балет «Семь красавиц», объединивший достижения современной европейской хореографии и средневековую восточную поэзию с присущей ей образностью, поставленный на музыку азербайджанского композитора Кары Караева. Композитор К. Караев активно использовал самобытные музыкальные традиции Азербайджана (музыкальные гармонии, мелодика ашугов и элементы народных азербайджанских ладов), сочетая их с европейскими мелодиями и ритмами. Анализируя фильм-балет «Семь красавиц» (1982, режиссер Федор Слидовкер) и новую постановку театра оперы и балета им. М.Ф. Ахундова (2011), автор прослеживает трансформацию либретто и предлагает собственное прочтение символики метафоричного произведения классика Низами Гянджеви. Поиски истины, красоты и справедливости всегда были уделом мыслящего человека. Восточные поэты воспевали этот поиск, этот долгий и трудный путь к истине, идеальному миру. Придворные интриги, роскошь дворца и повседневная жизнь простого народа, благородство, коварство и любовь переплелись в этой метафоричной восточной притче, которая легла в основу нескольких интерпретаций балета «Семь красавиц». Несмотря на большую степень условности, свойственной этому жанру сценического искусства, фильм-балет характеризуется драматургической многоплановостью, органическим сплетением развивающихся сюжетных линий, динамической взаимосвязью социального и лирико-психологического конфликтов. Трансформация либретто балета «Семь красавиц» свидетельствует о новом, более глубоком прочтении, приближению его к идейно-философской метафоричной концепции оригинальной поэмы Низами Гянджеви, воспетому поэтом вечному поиску истины, любви и справедливости со свойственной ему ориентальной образностью. the author explores creative interpretations of the work of the humanist poet Nizami Ganjavi (XII century) from the cycle "Khamse" – "Seven beauties". The poet was a true polymath, an expert not only in Quranic texts, history, ancient and Muslim philosophy, but also in astronomy. This article is an attempt to trace the Oriental symbolism of Ganjavi's images in one of the creative interpretations of the poem "Seven beauties", through the prism of choreographic and scenographic art. The method of research is semiotic analysis, the object of research is the ballet "Seven beauties", which combines the achievements of modern European choreography and medieval Eastern poetry with its inherent imagery, set to the music of the Azerbaijani composer Gara Garayev. The composer G. Garayev actively used the original musical traditions of Azerbaijan (musical harmonies, melodies of ashugs and elements of Azerbaijani folk modes), combining them with European melodies and rhythms. Analyzing the film-ballet "Seven beauties" (1982, directed by Fyodor Slidovker) and the new production of the Opera and ballet theater named after M. F. Akhundov (2011), the author traces the transformation of the libretto and offers his own interpretation of the symbolism of the metaphorical work of the classic Nizami Ganjavi. The search for truth, beauty, and justice has always been the province of the thinking man. Eastern poets sang of this search, this long and difficult path to the truth, the ideal world. Court intrigues, the luxury of the Palace and the daily life of the common people, nobility, guile and love are intertwined in this metaphorical Eastern parable, which formed the basis of several interpretations of the ballet "Seven beauties". Despite the great degree of conventionality inherent in this genre of stage art, the film-ballet is characterized by a dramatic diversity, an organic interweaving of developing storylines, and a dynamic relationship between social and lyrical-psychological conflicts. The transformation of the libretto of the ballet "Seven beauties" indicates a new, deeper reading, approaching it to the ideological and philosophical metaphorical concept of the original poem by Nizami Ganjavi, the poet's eternal search for truth, love and justice with its characteristic Oriental imagery.
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Hou, Yanshuang, and Xinglong Guo. "Music Creation Environment of Music Poetry." In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.4.

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Shulman, Ami, and Jorge Soto-Andrade. "A random walk in stochastic dance." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.71.

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Stochastic music, developed last century by Xenakis, has older avatars, like Mozart, who showed how to compose minuets by tossing dice, in a similar way that contemporary choreographer Cunningham took apart the structural elements of what was considered to be a cohesive choreographic work (including movement, sound, light, set and costume) and reconstructed them in random ways. We intend to explore an enactive and experiential analogue of stochastic music, in the realm of dance, where the poetry of a choreographic spatial/floor pattern is elicited by a mathematical stochastic process, to wit a random walk – a stochastic dance of sorts. Among many possible random walks, we consider two simple examples, embodied in the following scenarios, proposed to the students/dancers: - a frog, jumping randomly on a row of stones, choosing right and left as if tossing a coin, - a person walking randomly on a square grid, starting a given node, and choosing each time randomly, equally likely N, S, E or W, and walking non-stop along the corresponding edge, up to the next node, and so on.When the dancers encounter these situations, quite natural questions arise for the choreographer, like: Where will the walker/dancer be after a while? Several ideas for a choreography emerge, which are more complex than just having one or more dancers perform the random walk, and which surprisingly turn our random process into a deterministic one!For instance, for the first random walk, 16 dancers start at the same node of a discrete line on the stage, and execute, each one, a different path of the 16 possible 4 – jump paths the frog can follow. They would need to agree first on how to carry this out. Interestingly, they may proceed without a Magister Ludi handing out scripts to every dancer. After arriving to their end node/position, they could try to retrace their steps, to come back all to the starting node.Analogously for the grid random walk, where we may have now 16 dancers enacting the 16 possible 2-edge paths of the walker. The dancers could also enter the stage (the grid or some other geometric pattern to walk around), one by one, sequentially, describing different random paths, or deterministic intertwined paths, in the spirit of Beckett’s Quadrat. Also, the dancers could choose their direction ad libitum, after some spinning, each time, on a grid-free stage, but keeping the same step length, as in statistician Pearson’s model for a mosquito random flight.We are interested in various possible spin-offs of these choreographies, which intertwine dance and mathematical cognition: For instance, when the dancers choose each one a different path, they will notice that their final distribution on the nodes is uneven (interesting shapes emerge). In this way, just by moving, choreographer and dancers can find a quantitative answer to the impossible question: where will the walker/dancer be after a while? Indeed, the percentage of dancers ending up at each node gives the probability of the random walker landing there.
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Breen, Mara, and Ahren Fitzroy. "Pitch cues to hierarchical metric structure in children's poetry." In Future Directions of Music Cognition. The Ohio State University Libraries, 2021. http://dx.doi.org/10.18061/fdmc.2021.0038.

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Cheng, Fangping. "Study on Music Literature Characteristics of Song Poetry." In International Conference on Education, Management and Computing Technology (ICEMCT-16). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemct-16.2016.40.

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Luzzi, Cecilia. "ManUScript Italian poEtry in muSic (1500-1700) interoperable model." In the 1st International Workshop. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2660168.2660189.

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Garcia-Matos, Marta, and Silvia Carrasco. "Light on the Waves: Science, music, poetry… and light!" In 12th Education and Training in Optics and Photonics Conference, edited by Manuel F. P. C. Martins Costa and Mourad Zghal. SPIE, 2014. http://dx.doi.org/10.1117/12.2070733.

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Kerr, Vicki. "Performing nature unnaturally: Musique concrète and the performance of knowledge - one seabird at a time." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.129.

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Migratory seabirds are an unseen conduit between marine and terrestrial systems, carrying the nutrients they consume at sea into the forests where they breed. Acting as environmental sentinels, their health and reproductive success provide early warning signals of deteriorating marine eco-systems as the climate changes, and fish stocks decrease. Aotearoa New Zealand is the seabird capital of the world, with ~25% of all species breeding here and ~10% exclusively so. They play a critical role in maintaining healthy ecosystems, with their long-term well-being is closely interconnected with our own prospects for a sustainable future. Now predominantly restricted to off-shore islands due to predation and habitat destruction, seabirds and their familiar sounds have become less available in an age when the unprecedented global movement and planetary spread of the human population has culminated in unsustainable fishing, predators and habitat destruction. Inspiring mythology, song, poetry and stories, birds have been significant in shaping our understanding of how our natural environment has come to be known and understood. This paper speculates upon how we learn to communicate and cooperate with these precious taonga, and what might be learned from such an exchange through creative practice. Reflecting upon what birds might tell us, musician Matthew Bannister and I, a visual artist, have taken our cue from seabirds sharing our local environment on the west coast of Aotearoa - from the petrel (peera) through to the gannet (tākapu). Working on the premise that bird vocalisation is a performed negotiation that includes defence of territory and mate attraction, a bird’s call is a form of communication that effectively says “Come here” or “Go away”, which arguably is true of music – marking a social space and time to invite or repel. Rather than limiting bird calls to functionalist categories of explanation, we ask whether seabirds can communicate and exchange information about environmental changes using a malleable vocabulary, comprised of unique acoustic units arranged and re-arranged sequentially for greater communicative depth. Granting a high level of agency and creativity to birds as opposed to believing a bird only avails itself of stereotyped ‘speech’ to survive an accident-rich environment, places greater importance on responses that are improvised directly upon environmental stimuli as irritant rather than as a signal. Matthew explores bird calls via musique concrète, sampling recordings of seabirds to abstract the musical values of bird song conventions – a human response to the ‘other’ in jointly formed compositions, reflecting a living evolving relationship between composer and bird. In further developing our research into a multimedia artwork, I shall extend a technique used for electroacoustic composition (granular synthesis) to video portraits of composer/performer and bird. In applying granular synthesis techniques to video, tiny units of image and sampled sound are reassembled within the frames. Through the mixing of existing synthesised sequences, performer/composer and bird become active participants in the making and remaking of a shared environment, articulating the limits of space/territory to find new ways to be heard within it.
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Zeng, Tong. "On Rhyme, Melody and Artistic Charm of Vocal Music Works in Classical Chinese Poetry." In International Conference on Education, Management and Computing Technology (ICEMCT-15). Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icemct-15.2015.68.

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Omer, Ahmed Ibrahim Ahmed, and Michael Philip Oakes. "Arud, the Metrical System of Arabic Poetry, as a Feature Set for Authorship Attribution." In 2017 IEEE/ACS 14th International Conference on Computer Systems and Applications (AICCSA). IEEE, 2017. http://dx.doi.org/10.1109/aiccsa.2017.48.

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Reports on the topic "Poetry set to music"

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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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