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Relevant bibliographies by topics / Words; Text setting; Music

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Academic literature on the topic 'Words; Text setting; Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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Journal articles on the topic "Words; Text setting; Music"

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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

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Carter, Chandler. "The Rake's Progress and Stravinsky's Return: The Composer's Evolving Approach to Setting Text." Journal of the American Musicological Society 63, no. 3 (2010): 553–640. http://dx.doi.org/10.1525/jams.2010.63.3.553.

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Abstract Stravinsky has a deserved reputation for manipulating the sound of words, which, among other factors, has given rise to accusations of “antihumanism” against the composer and his music. However, close analysis of the opera The Rake's Progress (1948–51) shows that Stravinsky actually takes care to set the text intelligibly, and at certain moments, even expressively. By analyzing metric displacement and motivic development as it evolved from the composer's earlier neoclassical settings—including Oedipus Rex (1927), the Symphony of Psalms (1930), and Perséphone (1934)—through his first e

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Rovner, Anton А. "Vocal and Choral Symphonies and Considerations on Text Representation in Music." ICONI, no. 2 (2020): 26–37. http://dx.doi.org/10.33779/2658-4824.2020.2.026-037.

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The article examines the genres of the vocal and the choral symphony in connection with the author’s vocal symphony Finland for soprano, tenor and orchestra set to Evgeny Baratynsky’s poem with the same title. It also discusses the issue of expression of the literary text in vocal music, as viewed by a number of influential 19th and 20th century composers, music theorists and artists. Among the greatest examples of the vocal symphony are Gustav Mahler’s Das Lied von der Erde and Alexander von Zemlinsky’s Lyrische Symphonie. These works combine in an organic way the features of the symphony and

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Wu, Yi-Cheng Daniel. "Webern's Op. 12, No. 2, Die geheimnisvolle Flöte: Text Setting, Form, and Pitch Orthography." Studia Musicologica 59, no. 3-4 (2018): 275–99. http://dx.doi.org/10.1556/6.2018.59.3-4.2.

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Abstract In tonal music, pitch orthography reflects different structural and functional meanings of notes in various contextual and textural settings such as harmony, melody, and voice leading. At the turn of the twentieth century, many composers attempt to progress beyond the confines of traditional tonality, whose works, as generally perceived by most analysts nowadays, treat the twelve chromatic notes as the twelve enharmonically equivalent pitch-classes and thus present “the dissolution of … [the] notational conventions of earlier times” (Gillies 1993, 43). Contrary to this general sentime

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Rees, Anthony. "A Father’s Lament Doubly Received: Robert Alter, Nigel Butterley, and David’s Lament for Absalom." Journal of the Bible and its Reception 5, no. 1 (2018): 49–60. http://dx.doi.org/10.1515/jbr-2016-0030.

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Abstract David’s lament in 2 Sam 18:33, on hearing of Absalom’s death, has been an extremely popular text for composers to set to music. The traditional English language settings utilise a text that begins ‘When David Heard’, though these words are absent from the 1611 King James Bible, and the 1560 Geneva bible, and no other extant text supports this rendering. However, a cluster of some thirteen settings of the text in the seventeenth century which appropriated this translation established somewhat of a ‘tradition.’ Settings through to the twenty-first century have continued to utilise this

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Lopatin, Mikhail. "‘Ut cantus consonet cum verbis’: transformations of sound and sense in Paolo da Firenze’s Lena, virtù e speranza." Early Music 48, no. 1 (2020): 3–11. http://dx.doi.org/10.1093/em/caaa001.

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Abstract This article explores the topos of transformation/metamorphosis and its role in creating unusually fluid and ambiguous scenarios of musico-textual behaviour in Trecento and Quattrocento song. Examining Paolo da Firenze’s ballata Lena, virtù e speranza, I show how transformation spreads from the surface level of specific poetic motifs and musical gestures to the very core of music’s relation to its text and text’s relation to its music. In this analysis, my goal is to follow the trajectory of one specific word (‘mutatio’) as it passes through various theoretical filters on its way from

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HARRIS, ELLEN T. "Silence as Sound: Handel's Sublime Pauses." Journal of Musicology 22, no. 4 (2005): 521–58. http://dx.doi.org/10.1525/jm.2005.22.4.521.

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ABSTRACT The notated absence of sound creates some of the most dramatic and compelling moments in Handel's mature music. Handel's practice can be traced to the word-based silences of the madrigal on one hand, and the rhetorical silences found in Corelli's trio sonatas on the other. By transferring Corelli's systematic use of silence to vocal music, Handel moved beyond word-painting to expressive text-setting. Some critics condemned these silences, which prove strikingly similar to the emotional pauses introduced later by Garrick into his theatrical roles, as incorrect. Others considered them s

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Bosnić, Amra. "Treatment of Text in Vocal Works by Bosnian and Herzegovinian Composers." English version, no. 10 (October 22, 2018): 38–53. http://dx.doi.org/10.51515/issn.2744-1261.2018.10.38.

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The paper discusses the half-century of composition in Bosnia and Herzegovina throughout the prism of musical setting to text phenomenon in vocal forms. In its focus are the solo song Pjesma u zoru by Milan Prebanda, Otvori u noć vrata by Vlado Milošević, Sappho by Nada Ludvig Pečar and The impact of the analogue synthesizer by Dino Rešidbegović. Analysis of the relationship between text and music in these works points out to the compositionaltechnical manner characteristic for these composers, generally marked by: Milošević consistently holds on to a text quantitative and qualitative characte

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Atkinson, Thomas M., Kevin T. Liou, Michael A. Borten, et al. "Association Between Music Therapy Techniques and Patient-Reported Moderate to Severe Fatigue in Hospitalized Adults With Cancer." JCO Oncology Practice 16, no. 12 (2020): e1553-e1557. http://dx.doi.org/10.1200/op.20.00096.

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PURPOSE: Cancer-related fatigue is a prevalent, debilitating symptom that contributes to increased health care utilization among hospitalized patients. Music therapy is a nonpharmacological intervention that uses active (eg, singing, selecting songs) and passive (eg, listening) techniques. Preliminary evidence from small trials suggests a potential benefit for cancer-related fatigue in the inpatient setting; however, it remains unclear which techniques are most effective. METHODS: A cross-sectional mixed-methods study was performed to compare cancer-related fatigue before and after active or p

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Edwards, Warwick. "Phrasing in medieval song: perspectives from traditional music." Plainsong and Medieval Music 5, no. 1 (1996): 1–22. http://dx.doi.org/10.1017/s0961137100001042.

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During the course of a series of articles relating medieval Italian songs to oral and unwritten traditions, Nino Pirrotta comments on a peculiar anonymous two-voice setting from the fourteenth century whose verses seem to have been broken and shattered by the music. Word repetition ‘does not result in a more effective or more understandable rendition of the text; on the contrary, it so fragments and stutters it that any meaning is lost, except as a pretext for the melody which submerges it’. The song in question, Dolce lo mio drudo, is part of a group of unica with Calabrian associations found

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Dissertations / Theses on the topic "Words; Text setting; Music"

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King, Jonathan. "Texting in early fifteenth-century sacred polyphony." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321515.

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Hurd, James Alexander. "From a Peacock to Apocope: An Examination of Maurice Ravels Text Setting in the Histoires naturelles, LHeure espagnole and Other Pre-WWI Vocal Works." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1258478854.

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Banga, David Paul. "Arnold Schoenberg's approach to text setting in "The Book of the Hanging Gardens"." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ57083.pdf.

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Lyszczarz, Joseph E. "Among the Voices Voiceless: Setting the Words of Samuel Beckett." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011787/.

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Among the Voices Voiceless is a composition for flute (doubling piccolo), clarinet (doubling bass clarinet), viola, cello, percussion, piano, and electronics, based on the poem "What would I do without this world faceless incurious" by Samuel Beckett. The piece is a setting for disembodied voice: the vocal part exists solely in the electronics. Having no physical body, the voice is obscured as the point of empathy for the audience. In addition, instrumental solos compete for focus during the work's twenty minute duration. In passages including a soloist, the soloist functions simultaneously as

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Langager, Graeme Michael Allyn. "Of Text and Tune: The Relationship Between Words and Music in the Choral Music of Gerald Finzi." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1155575211.

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Parsons, James. "Music and Words. Towards an Understanding of Text in the Finale of Beethoven's Choral Symphony." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37116.

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Viglianti, Raffaele. "Music and Words: Reconciling libretto and score editions in the digital medium." Allitera Verlag, 2016. https://slub.qucosa.de/id/qucosa%3A23357.

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Ku, Christopher Jun-Sheng. "'Aptlie framed for the dittie' : a study of setting sacred Latin texts to music in sixteenth-century England." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:8b7d80ad-6989-48f5-9d88-6987b656ef59.

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Although considerable attention has been paid to the texting practices of specific composers and certain repertoires, a comprehensive study of the practice of texting in the sacred Latin‐texted vocal works of sixteenth‐century England remains to be undertaken. How did English composers, scribes, and singers of the sixteenth century set words to music? Today, the general impression that emerges from critical apparatuses of modern performing editions, where manuscripts of vocal music copied by sixteenth-century English copyists are concerned, is negative: they are regarded as casual, often‐contr

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Rosser, Geraldine Metcalf. "Rules for setting of French text in the writings of Alexandre Etienne Choron (1771-1834) and his contemporaries." Columbus, Ohio : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5num=osu1064018314.

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Thesis (Ph. D.)--Ohio State University, 2003.<br>Title from first page of PDF file. Document formatted into pages; contains xiv, 272 p. : ill. Advisor: Burdette Green, School of Music. Includes bibliographical references (p. 251-272).

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Hoffman, Brian D. "Elements of the Musical Theater Style: 1950–2000." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307322562.

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Books on the topic "Words; Text setting; Music"

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1803-1869, Berlioz Hector, ed. Mosaic of the air: A setting to words of music by Hector Berlioz. University of Salzburg, 1997.

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Patterns in play: A model for text setting in the early French songs of Guillaume Dufay. University of Nebraska Press, 1999.

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Hornby, Emma. Medieval liturgical chant and patristic exegesis: Words and music in the second-mode tracts. Boydell Press, 2009.

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Hornby, Emma. Medieval liturgical chant and patristic exegesis: Words and music in the second-mode tracts. Boydell Press, 2009.

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Medieval liturgical chant and patristic exegesis: Words and music in the second-mode tracts. Boydell Press, 2009.

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Fritz, Rebekka. Text and music in German operas of the 1920s: A study of the relationship between compositional style and text-setting in Richard Strauss' Die ägyptische Helena, Alban Berg's Wozzeck, and Arnold Schoenberg's Von heute auf morgen. Peter Lang, 1998.

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Talle, Andrew. Bach, Graupner, and the Rest of Their Contented Contemporaries. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038136.003.0003.

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Music scholars have long recognized the value of comparing settings of the same cantata texts by Bach and his German contemporaries. Examining the ways in which multiple musical minds chose to set the same words can throw the styles of each into sharp relief. This chapter presents a second pair of settings by Bach and Graupner that has received only occasional mention in the literature: Vergnügte Ruh, beliebte Seelenlust (BWV 170 and GWV 1147/11). The premieres of the two settings took place fifteen years apart; Graupner's setting was first heard on July 12, 1711, in Darmstadt, and Bach's on J

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Zbikowski, Lawrence M. Music and Words. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190653637.003.0006.

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This chapter focuses on the different ways language and music construct meaning as revealed through the medium of song. The chapter focuses on the German Lied of the early nineteenth century, and it offers analyses of three settings of Goethe’s lyric poem “Über allen Gipfeln ist Ruh.” The first is an 1814 setting by Carl Friedrich Zelter; the second was written around 1816 by Carl Loewe; the third was completed sometime before 1824 by Franz Schubert. These analyses show how each setting changes the interpretation of Goethe’s poem, demonstrating how the different grammatical resources offered b

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Randel, Don M. About Cole Porter’s Songs. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040092.003.0012.

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This chapter considers how the lyrics and music of Cole Porter songs might be thought of in relation to one another in essentially musical and poetic structural terms. The goal is to describe what the lyrics and the music sound like together rather than what they mean or express together. The analysis focuses on three songs: “Ev'ry Time We Say Goodbye, ” “You'd Be So Nice to Come Home To,” and “You'd Be So Easy to Love.” These three songs and others suggest that Porter entirely confounds the notion of a song as a setting of a text and that his songs compel us to think of words and music in ter

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Gagliano, Marco da. Madrigals, Part 4. Edited by Edmond Strainchamps. A-R Editions, 2021. http://dx.doi.org/10.31022/b221.

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Il quarto libro de madrigali a cinque voci, the fourth of six books of madrigals by the Florentine composer Marco da Gagliano, was published in 1606. The book is distinguished by the excellence of its music as well as by its varied settings of texts by some of the most celebrated poets of the day. Five of the madrigals use texts by Giovanni Battista Guarini, three by Giambattista Marino, one each by Gabriello Chiabrera, Cosimo Galletti, and Alsaldo Cebà, and a final two-part madrigal for six voices sets a sonnet by the great fourteenth-century poet Francesco Petrarca. In addition to fourteen m

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Book chapters on the topic "Words; Text setting; Music"

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Upton, Elizabeth Randell. "Aligning Words and Music: Scribal Procedures for the Placement of Text and Notes in the Chantilly Codex." In Epitome musical. Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.em-eb.3.2663.

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Dröse, Astrid, and Sara Springfeld. "Liedkultur des 17. Jahrhunderts als Übersetzungskultur." In Übersetzungskulturen der Frühen Neuzeit. Springer Berlin Heidelberg, 2021. http://dx.doi.org/10.1007/978-3-662-62562-0_6.

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ZusammenfassungIn our paper we analyse translations of Italian and French songs into German from the late sixteenth to the mid-seventeenth century. The methods of translation employed range from a narrow focus on the words and music of the original song to free variation. Analysing the bimedial relationship of words and music is the principal focus of our study. We ask: What consequences does a translation have for the text-sound relationship? In the first part of the study, we develop a heuristic methodology that describes this phenomenon while taking into account the cultural context of each translation. In the second part, we put this model to the test by examining a prominent song collection: Heinrich Albert’s Arien oder Melodeyen (Königsberg, 1638–1650), which contains a large number of as yet unidentified French and Italian originals. Two case studies on the translation of an Air de Cour and an Italian aria, as well as reflections on the digital accessibility of song translation, conclude the paper.

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Jones, Bethan. "Lawrence Set to Music." In The Edinburgh Companion to D. H. Lawrence and the Arts. 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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Hefling, Charles. "The Prayer Book Sung." In The Book of Common Prayer: A Guide. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190689681.003.0013.

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The Book of Common Prayer makes explicit provision for some of its words to be either “sung or said.” Vocal music, choral or congregational, has been a feature of Prayer Book services from the first. The original version of the text was set to music in 1550 by John Marbeck; since then, a tradition of “parochial music” has augmented Divine Service with metrical paraphrases of the Psalms, while “cathedral music” has developed a unique form of recitation known as Anglican chant, together with a genre of musical settings for choirs of the canticles at Morning and Evening Prayer.

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Manning, Jane. "DARON HAGEN (b. 1961)Muldoon Songs (1989 and 1992)." In Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0032.

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This chapter explores the Muldoon Songs by Daron Hagen. This succinct, appealing cycle comes from a generous, attractively presented volume, replete with notes by both the composer and Paul Sperry, who has done so much for contemporary art song. This cycle consists of seven contrasting songs; the third and fourth mere fragments. The sixth was added last, at the request of Paul Sperry, who commissioned the piece. Much of the intriguingly acerbic text is set straightforwardly. Through this cycle, Hagen shows a masterly grasp of the voice–piano idiom, along with a love of words, and a refined instinct for setting them. His writing seems unfettered and entirely natural, encompassing an exceptionally wide range of styles with unerring craftsmanship and sometimes deceptive simplicity. Indeed, as this chapter shows, the music breathes freely, maintaining elasticity and rhythmic verve.

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Scott, Derek B. "Mimesis, Gesture, and Parody in Musical Word-setting." In Words and Music. Liverpool University Press, 2005. http://dx.doi.org/10.5949/liverpool/9780853236191.003.0002.

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Scott, Derek B. "Mimesis, Gesture, and Parody in Musical Word-setting." In Words and Music. Liverpool University Press, 2005. http://dx.doi.org/10.2307/j.ctt5vjm57.5.

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Sharma, Bhesham. "Music and Text in Schoenberg's A Survivor from Warsaw." In Words and Music. Liverpool University Press, 2005. http://dx.doi.org/10.5949/liverpool/9780853236191.003.0007.

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Sharma, Bhesham. "Music and Text in Schoenberg’s A Survivor from Warsaw." In Words and Music. Liverpool University Press, 2005. http://dx.doi.org/10.2307/j.ctt5vjm57.10.

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Manning, Jane. "HUW WATKINS (b. 1976)Three Auden Songs (2008)." In Vocal Repertoire for the Twenty-First Century, Volume 2. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0069.

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This chapter explores Welsh composer Huw Watkins’s Three Auden Songs (2008). Written for the flexible high-lying voice of the tenor Mark Padmore, these three settings of W. H. Auden constitute an attractive and well-varied cycle which will sit well amongst more established pieces, and should prove a valuable addition to the tenor repertoire. It was commissioned by the Théâtre Royale de la Monnaie in Brussels. The musical language is chromatic, quasi-tonal, and highly accessible, and, as to be expected, the composer’s writing for piano is idiomatic, achieving a distinctive character for each song. Vocal lines are rewardingly lyrical and words are set with care for clarity and ease of attack. The music is phrased naturally to match the flow of the text, so the singer should have no difficulty in planning breaths. The ability to launch and sustain an even tone will be shown to full advantage.

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Conference papers on the topic "Words; Text setting; Music"

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Dalmora, André, and Tiago Tavares. "Identifying Narrative Contexts in Brazilian Popular Music Lyrics Using Sparse Topic Models: A Comparison Between Human-Based and Machine-Based Classification." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10417.

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Music lyrics can convey a great part of the meaning in popular songs. Such meaning is important for humans to understand songs as related to typical narratives, such as romantic interests or life stories. This understanding is part of affective aspects that can be used to choose songs to play in particular situations. This paper analyzes the effectiveness of using text mining tools to classify lyrics according to their narrative contexts. For such, we used a vote-based dataset and several machine learning algorithms. Also, we compared the classification results to that of a typical human. Last

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Vedula, Nikhita, Nedim Lipka, Pranav Maneriker, and Srinivasan Parthasarathy. "Open Intent Extraction from Natural Language Interactions (Extended Abstract)." In Thirtieth International Joint Conference on Artificial Intelligence {IJCAI-21}. International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/ijcai.2021/663.

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Accurately discovering user intents from their written or spoken language plays a critical role in natural language understanding and automated dialog response. Most existing research models this as a classification task with a single intent label per utterance. Going beyond this formulation, we define and investigate a new problem of open intent discovery. It involves discovering one or more generic intent types from text utterances, that may not have been encountered during training. We propose a novel, domain-agnostic approach, OPINE, which formulates the problem as a sequence tagging task

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Reports on the topic "Words; Text setting; Music"

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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There a

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