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Relevant bibliographies by topics / The Hermit Songs

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Academic literature on the topic 'The Hermit Songs'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "The Hermit Songs"

1

Cox, Kevin L. "Hermit Songs." American Music 16, no. 3 (1998): 360. http://dx.doi.org/10.2307/3052646.

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Janes, Stewart W., and Lee Ryker. "Singing of Hermit Warblers: Dialects of Type I Songs." Condor 108, no. 2 (May 1, 2006): 336–47. http://dx.doi.org/10.1093/condor/108.2.336.

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AbstractHermit Warblers (Dendroica occidentalis) sing distinct dialects of type I songs, the most common song before pairing. Eight dialects were identified and described in a 22 900 km2 area in southwestern Oregon and northern California. The dialects were well defined geographically with contact areas between dialects seldom extending more than 6 km. Gaps in forested habitat of ≥10 km separated several dialects, but within forested areas dialect boundaries did not conform to obvious habitat, elevation, or geographic boundaries. Few songs containing syllables or phrases from more than one dialect were identified, and birds incorporating elements from two different dialects inhabited areas close to the common boundary between the two. Multivariate analysis showed that birds in neighboring areas had dialects most similar in structure, but a more complex history of dialect development or origin is suggested in other areas.

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Janes, Stewart W., and Lee Ryker. "SINGING OF HERMIT WARBLERS: DIALECTS OF TYPE I SONGS." Condor 108, no. 2 (2006): 336. http://dx.doi.org/10.1650/0010-5422(2006)108[336:sohwdo]2.0.co;2.

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Kello, Christopher T., Simone Dalla Bella, Butovens Médé, and Ramesh Balasubramaniam. "Hierarchical temporal structure in music, speech and animal vocalizations: jazz is like a conversation, humpbacks sing like hermit thrushes." Journal of The Royal Society Interface 14, no. 135 (October 2017): 20170231. http://dx.doi.org/10.1098/rsif.2017.0231.

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Humans talk, sing and play music. Some species of birds and whales sing long and complex songs. All these behaviours and sounds exhibit hierarchical structure—syllables and notes are positioned within words and musical phrases, words and motives in sentences and musical phrases, and so on. We developed a new method to measure and compare hierarchical temporal structures in speech, song and music. The method identifies temporal events as peaks in the sound amplitude envelope, and quantifies event clustering across a range of timescales using Allan factor (AF) variance. AF variances were analysed and compared for over 200 different recordings from more than 16 different categories of signals, including recordings of speech in different contexts and languages, musical compositions and performances from different genres. Non-human vocalizations from two bird species and two types of marine mammals were also analysed for comparison. The resulting patterns of AF variance across timescales were distinct to each of four natural categories of complex sound: speech, popular music, classical music and complex animal vocalizations. Comparisons within and across categories indicated that nested clustering in longer timescales was more prominent when prosodic variation was greater, and when sounds came from interactions among individuals, including interactions between speakers, musicians, and even killer whales. Nested clustering also was more prominent for music compared with speech, and reflected beat structure for popular music and self-similarity across timescales for classical music. In summary, hierarchical temporal structures reflect the behavioural and social processes underlying complex vocalizations and musical performances.

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Hiller, James. "Music Therapists’ Preparation for Song Discussion: Meaning-Making With the Music." Music Therapy Perspectives 37, no. 2 (2019): 205–12. http://dx.doi.org/10.1093/mtp/miz005.

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Abstract Songs are powerful catalysts and resources for change processes in music psychotherapy. Not surprisingly, music therapists often invite clients to listen to recordings of popular songs. A common song listening method is song discussion, in which a therapist selects a relevant song to explore with a client or group and facilitates the listening and subsequent verbal processing. In the relevant music therapy literature, lyrics assume a primary focus (i.e., lyric analysis), and yet, the music of a song, as integrated with its lyrics, impacts both client’s and therapist’s meaning-making and is therefore crucial to take into account. The purpose of the present investigative essay is to encourage music therapists to give attention to the music of recorded songs as they plan to facilitate song discussion. Herein I present a conceptualization of recorded popular songs and consider how one makes meaning from song listening processes. I urge therapists to prepare for song discussion through careful phenomenological listening and introspective interpretation. Finally, I describe procedures of a developing model for aural song analysis and interpretation based on Bruscia’s Improvisation Assessment Profiles (IAPs) with an abbreviated example viewed through multiple theoretical perspectives.

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Van der Mescht, H. "Die agtergrond en ontstaansgeskiedenis van Hubert du Plessis se Duitse en Franse liedere." Literator 24, no. 2 (August 1, 2003): 125–44. http://dx.doi.org/10.4102/lit.v24i2.294.

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The background and genesis of Hubert du Plessis’s German and French songs On 7 June 2002 the South African composer Hubert du Plessis turned 80. Among his 77 art songs there are (apart from songs in Afrikaans, Dutch and English) eleven on German texts and one on a French text. The aim of this article is to investigate the genesis of these German and French songs. Du Plessis was influenced by his second cousin, the Afrikaans poet Barend J. Toerien, who lived in the same residence as Du Plessis at the University of Stellenbosch where they studied in the early 1940s. Toerien introduced Du Plessis to the work of Rilke, of whose poetry Du Plessis later set to music “Herbst”. Du Plessis’s ten Morgenstern songs were inspired by a chance gift of a Morgenstern volume from Susanne Stark-Schwietering, a student in Grahamstown where Du Plessis taught at Rhodes University College (1944-1951). During his studies in London (1951-1954) Du Plessis also received a volume of Morgenstern poetry from Howard Ferguson in 1951. The choice of French verses from Solomon’s Song of Songs was influenced by the advice of Hilda de Wet (Stellenbosch, 1966). It is notable that Du Plessis’s main composition teachers, William Bell, Friedrich Hartmann and Alan Bush, had practically no influence on the choice of the texts of his German and French songs.

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양희찬. "Inward forming method of Ilminga(song of hermit)." EOMUNYEONGU 64, no. ll (June 2010): 147–67. http://dx.doi.org/10.17297/rsll.2010.64..006.

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Brahic, Catherine. "Hermit thrush's song is music to our ears." New Scientist 224, no. 2994 (November 2014): 12. http://dx.doi.org/10.1016/s0262-4079(14)62128-x.

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Roach, Sean P., and Leslie S. Phillmore. "Geographic variation in song structure in the Hermit Thrush (Catharus guttatus)." Auk 134, no. 3 (July 2017): 612–26. http://dx.doi.org/10.1642/auk-16-222.1.

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Janes, Stewart W., and Lee Ryker. "Rapid change in a Type I song dialect of Hermit Warblers(Setophaga occidentalis)." Auk 130, no. 1 (January 2013): 30–35. http://dx.doi.org/10.1525/auk.2012.11273.

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Dissertations / Theses on the topic "The Hermit Songs"

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Kimbell, Sara E. "The Romantic Pilgrim: Narrative Structure in Samuel Barber's Hermit Songs." Youngstown State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1274965990.

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Konowal, Jennifer A. "Narrating the Lives of Saints and Sinners in Samuel Barber’s Hermit Songs." Wittenberg University Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1469105065.

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Wing, Jennifer Mary. "Resisting the Vortex: Abjection in the Early Works of Herman Melville." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-04192008-191516/.

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Thesis (Ph. D.)--Georgia State University, 2008.
Title from file title page. Robert Sattelmeyer, committee chair; Janet Gabler-Hover, Calvin Thomas, committee members. Electronic text (215 p.) : digital, PDF file. Description based on contents viewed June 10, 2008. Includes bibliographical references (p. 207-215).

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Wang, Hsiao-ping, and 王曉蘋. "A Study of Samule Samuel Barber’s【Hermit Songs】." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/68889149380255211710.

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碩士
東吳大學
音樂學系
99
This thesis aims at examining song Cycle composed 《Hermit Songs》by Samuel Barber, Samuel Barber’s At patrick’s purgatory、Church bell at night、St.Ita’s vision、The heavenly banquet、The crucifixion、Sea-snatch、Promiscuity、The monk and his cat、The praises of God、The desire for hermitage。 Major topics included in this thesis are: an introduction Samuel Barber’s life, and musical style; a description of the characteristics of the Hermit songs; an explanation of the meanings of the songs based on critical analyses of their musical forms, Lyrics, and recommendations for ways to render the songs.

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Lee, Ya-Jen, and 李亞真. "Analysis and Interpretations of Samuel Barber's "Hermit Songs",Op.29." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/98196694449438440941.

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碩士
國立臺中教育大學
音樂學系碩士班
97
Samuel Barber (1910-1981), an outstanding American composer in 20th century. His vocal music works are very popular. Barber composed more than 100 songs in his life. This song cycle Hermit Songs, op.29, was completed in 1953. The original texts are Irish but they were translated in English . This thesis discusses ten songs included in the song cycle “Hermit Songs”. The author provides the text translations, music analysis and singing interpretations on each song of the song cycle. It is hoped this thesis provides singers with understanding the unique musical style of “Hermit Songs”.

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Books on the topic "The Hermit Songs"

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Dominic, Gloria. Song of the hermit thrush: An Iroquois legend. Vero Beach, Fla: The Rourke Corporation, 1996.

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Sacred song of the hermit thrush: A Native American legend. Summertown, Tenn: Book Pub. Co., 1993.

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Lowenthal, Rita. One-way ticket: Our son's addiction to heroin. New York: Beaufort Books, 2007.

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Zeuch, Christa. Das Jahr hat bunte Socken an: Ein Mitmachbuch für Frühling, Sommer, Herbst und Winter. Würzburg: Benzinger Ed. im Arena Verlag, 1994.

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Maufort, Marc. Songs of American experience: The vision of O'Neill and Melville. New York: P. Lang, 1990.

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Hovey, Roy A. The Hermle service manual. [Richmond, KY]: R.A. Hovey, 1994.

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Clarke, Jane. Sherman swaps shells. New York, NY: Crabtree Pub. Co., 2004.

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8

Barber, Samuel. Hermit Songs: High Voice. G. Schirmer, Inc., 1987.

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9

The song in the dream of the hermit: Selections from the Kanginshu. Seattle, Wash: Broken Moon Press, 1994.

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Tehanetorens, David, and David Fadden. Sacred Song of the Hermit Thrush: A Mohawk Story. Book Publishing Company, 2020.

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Book chapters on the topic "The Hermit Songs"

1

"CHAPTER THIRTEEN. “Calling the Hermit Back” “Zhao yinshi”." In The Songs of Chu, 210–12. Columbia University Press, 2017. http://dx.doi.org/10.7312/qu--16606-015.

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Heyman, Barbara B. "Song Cycles." In Samuel Barber, 358–83. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0013.

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Back in America, Barber happily focused on composing songs. Drawn to Rainer Maria Rilke’s French poems, he created five songs, Mélodies passagères. When asked, he said that he composed in French because he had fallen in love with Paris. He sang excerpts of the cycle to his friend, composer Francis Poulenc, who confirmed the accuracy of the prosody and admired the songs so much he premiered them in Paris with Pierre Bernac in 1952, which Barber attended as he was there for a meeting of the International Music Council. In 1952, Barber received a commission from the Ballet Society to orchestrate some piano duets he had composed, inspired by his childhood trips to the Palm Court in New York’s Plaza Hotel. Completed in Ireland, the ballet, Souvenirs, included a waltz, schottische, tango, pas de deux, and two-step; it was choreographed and performed by Balanchine, who danced with Nora Kaye, Jerome Robbins, and Tanaquil LeClercq. His love affair with Irish poetry also blossomed during this time, inspiring his most famous song cycle, Hermit Songs, settings of ten poems by Irish monks inscribed on the corners of manuscripts. The cycle was premiered in the Coolidge Auditorium at the Library of Congress by Leontyne Price, with Barber at the piano. This chapter concludes with discussion of Barber’s one-movement orchestral work, Adventure, a television collaboration between CBS and the Museum of Natural History, which is scored for a mixture of recognizable Western instruments and non-Western instruments.

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Manning, Jane. "ROSS EDWARDS (b. 1943)The Hermit of Green Light (1979)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 87–89. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0025.

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This chapter explores The Hermit of Green Light by Ross Edwards. Here, Edwards shows acute awareness of the incisive quality and enviable consistency of timbre of the counter-tenor voice type. The four songs are fluent and full of contrast, yet unfailingly elegant and economical in structure. Piano writing is invitingly idiomatic, with clear textures that should allow the singer to pick out helpful pitch cues. Whole-tone scales are a dominant feature, and time signatures fluctuate continually amid some rhythmic complexities. The piece is eminently practicable, however, and the score is a model of clarity. Vocal range is extremely well judged, and concentrates on the most penetrating area of the voice. There are just a few long-held notes, and these do not need to be sustained beyond the point of comfort or tonal security. Dynamics are subtly moulded to suit the sound quality and vocal gestures of authentically rendered baroque music—the cornerstone of the counter-tenor’s repertoire.

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Lears, Adin E. "“Wondres to Here”." In World of Echo, 94–127. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501749605.003.0004.

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This chapter explores several versions of Piers Plowman, wherein the poem's opening lines stress hearing before vision. It talks about Will, the Dreamer, who sets out on his spiritual quest in early summer, dressed in the rough woolen garments of a hermit. It also mentions how hearing receives emphasis at the close of the Prologue, wherein the last lines devolve into a cacophony of street songs sung by the urban tradesmen and professionals that populate the end of Will's dream. The chapter describes how Piers Plowman draws on and reworks the dreamvision topos of birds lulling a dreamer to sleep in any number of places, including in the first dream, when Will falls asleep at the sound of rushing water. It elaborates on hearing as it is inextricably tied to feeling, both as sensation and as emotion.

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Smith, Steven C. "Yours, Herman Hupfeld." In Music by Max Steiner, 282–95. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190623272.003.0019.

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Amid Casablanca’s many justly celebrated aspects is its soundtrack—the subject of much of this chapter. Surprisingly, Steiner hated the 1931 song “As Time Goes By,” which producer Hal Wallis insisted be featured in the underscoring (Max wanted to pen an original tune for Bogart and Bergman). But Steiner’s consummate professionalism is demonstrated by the ingenious ways he adapted Herman Hupfeld’s melody into one of the movies’ greatest love themes, in a score with many other musical highlights. This chapter also examines the ways in which Steiner’s music became part of Hollywood’s propaganda efforts during World War II, from the controversial, pro-Russia Mission to Moscow (which required the personal approval of Josef Stalin), to the sublime Americana of The Adventures of Mark Twain, one of Steiner’s most underappreciated scores.

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Morgan, Alison. "‘Your memorials shall survive the grave’: elegy and remembrance." In Ballads and songs of Peterloo, 118–49. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784993122.003.0005.

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The sixteen ballads and songs within this section fall into two camps: elegy and remembrance. Whilst a central feature of elegiac poetry is the way in which it remembers or memorialises the dead, the dead a poem which is one of remembrance is not necessarily an elegy. Several of the songs herein use the date of Peterloo as a temporal marker – with an eye both on the contemporaneous reader or audience and the future reader. Included in this section are broadside ballads by Michael Wilson and elegies by Samuel Bamford and Peter Pindar. These songs display a self-awareness in their significance in marking the moment for posterity and in their attempts to reach an audience beyond Manchester and ensure that the public knew what had happened on 16^th August as well as preserving the event in English vernacular culture. It is also a quest for ownership of the narrative of the day; the speed with which so many of these songs were written and published not only suggests the ferocity of emotions surrounding events but also the need to exert some control over the way in which they were represented.

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Lears, Adin E. "“Clamor Iste Canor Est”." In World of Echo, 27–61. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501749605.003.0002.

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This chapter begins with fourteenth-century hermit Richard Rolle's final chapter of the Incendium Amoris or “fire of love,” which recalls his early religious fervor. It analyses that Rolle's characteristic love-language demonstrates an impulse to describe his relationship with God in terms of the emotional bonds and bodily feeling of a melancholic lover. It also describes Rolle's choice of the nightingale as a persona for his youthful longing as drawing on a long literary tradition that linked the song of the nightingale to passionate devotion and lament. The chapter sketches how and why Rolle presents his experience on sensations of canor or mystical song as an extrasemantic experience of sound. It discusses extrasemantic experience that amplifies how Rolle's theology theorizes voice and establishes his place as a foundational figure in a vernacular devotional tradition grounded in sound and noise.

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Melville, Herman. "Lamia's Song." In The Writings of Herman Melville: The Northwestern-Newberry Edition, Vol. 11: Published Poems: Battle-Pieces; John Marr; Timoleon, edited by Robert C. Ryan, Harrison Hayford, Alma A. MacDougall, and G. Thomas Tanselle, 274. Northwestern University Press, 2009. http://dx.doi.org/10.1093/oseo/instance.00214342.

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"Introduction." In An Old French Trilogy, translated by Catherine M. Jones, William W. Kibler, and Logan E. Whalen, 1–21. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066462.003.0001.

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The introductory chapter situates the three texts within the tradition of Old French epic poetry or chansons de geste. The reader is first introduced to the formal and thematic characteristics of the genre, with particular attention to formulaic style. Derived from orally transmitted heroic songs, the Old French epics celebrate memorable exploits using a repertory of standard motifs. The chapter also provides an overview of the William of Orange cycle as well as summaries and brief analyses of the three translated poems. A translators’ note explains the principles guiding the translation.

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Gregory, Justina. "Iliad, Part 1." In Cheiron's Way, 57–84. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190857882.003.0003.

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The Iliad concerns not only heroic war but also heroic education. This chapter begins by considering the poem’s treatment of the relationship between natural aptitudes and acquired skills and discusses the lengthy scene of instruction (Iliad 23) in which Nestor coaches his son Antilochus on winning a chariot race. It describes the normative heroic curriculum, which includes training in public speaking, warfare, and the value system underpinning warrior culture: fathers repeatedly drive home to their sons the importance of enhancing familial glory and avoiding the shame that is associated with cowardice on the battlefield. The chapter also considers the motives underlying parental tenderness, including the project of inculcating habitus (Pierre Bourdieu’s term), and analyzes Iliadic instances of instruction via injunctions (hupothēkai), general reflections (gnōmai), and exemplary tales (paradeigmata).

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Conference papers on the topic "The Hermit Songs"

1

Sipos, Mária. "Word and stem repetitions in the heroic epic songs collected by Antal Reguly." In 5th Tibor Mikola Memorial Conference. Szeged: University of Szeged, 2021. http://dx.doi.org/10.14232/sua.2021.54.131-147.

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Araldi, Alessandro, and Giovanni Fusco. "The Nine Forms of the French Riviera: Classifying Urban Fabrics from the Pedestrian Perspective." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5219.

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The Nine Forms of the French Riviera: Classifying Urban Fabrics from the Pedestrian Perspective. Giovanni Fusco, Alessandro Araldi ¹Université Côte-Azur, CNRS, ESPACE - Bd. Eduard Herriot 98. 06200 Nice E-mail: giovanni.fusco@unice.fr, alessandro.araldi@unice.fr Keywords: French Riviera, Urban Fabrics, Urban Form Recognition, Geoprocessing Conference topics and scale: Tools of analysis in urban morphology Recent metropolitan growth produces new kinds of urban fabric, revealing different logics in the organization of urban space, but coexisting with more traditional urban fabrics in central cities and older suburbs. Having an overall view of the spatial patterns of urban fabrics in a vast metropolitan area is paramount for understanding the emerging spatial organization of the contemporary metropolis. The French Riviera is a polycentric metropolitan area of more than 1200 km2 structured around the old coastal cities of Nice, Cannes, Antibes and Monaco. XIX century and early XX century urban growth is now complemented by modern developments and more recent suburban areas. A large-scale analysis of urban fabrics can only be carried out through a new geoprocessing protocol, combining indicators of spatial relations within urban fabrics, geo-statistical analysis and Bayesian data-mining. Applied to the French Riviera, nine families of urban fabrics are identified and correlated to the historical periods of their production. Central cities are thus characterized by the combination of different families of pre-modern, dense, continuous built-up fabrics, as well as by modern discontinuous forms. More interestingly, fringe-belts in Nice and Cannes, as well as the techno-park of Sophia-Antipolis, combine a spinal cord of connective artificial fabrics having sparse specialized buildings, with the already mentioned discontinuous fabrics of modern urbanism. Further forms are identified in the suburban and “rurban” spaces around central cities. The proposed geoprocessing procedure is not intended to supersede traditional expert-base analysis of urban fabric. Rather, it should be considered as a complementary tool for large urban space analysis and as an input for studying urban form relation to socioeconomic phenomena. References Conzen, M.R.G (1960) Alnwick, Northumberland : A Study in Town-Planning Analysis. (London, George Philip). Conzen, M.P. (2009) “How cities internalize their former urban fringe. A cross-cultural comparison”. Urban Morphology, 13, 29-54. Graff, P. (2014) Une ville d’exception. Nice, dans l'effervescence du 20° siècle. (Serre, Nice). Yamada I., Thill J.C. (2010) “Local indicators of network-constrained clusters in spatial patterns represented by a link attribute.” Annals of the Association of American Geographers, 100(2), 269-285. Levy, A. (1999) “Urban morphology and the problem of modern urban fabric : some questions for research”, Urban Morphology, 3(2), 79-85. Okabe, A. Sugihara, K. (2012) Spatial Analysis along Networks: Statistical and Computational Methods. (John Wiley and sons, UK).

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