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

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

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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2

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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3

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

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4

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

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5

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

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6

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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7

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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8

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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9

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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10

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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11

From words to music : a user's guide to text for choral musicians. GIA Publications, 2014.

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12

Abbott, Helen. Baudelaire’s Musical Contexts. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.003.0001.

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This chapter interrogates the ‘musical’ aspects of Baudelaire’s poetry, including the music that inspired Baudelaire, the technical properties of his poetic texts which might be considered music-like, and the different music genres within which his poems have been set. It sets out a typology of song, examining how categorizations shift, particularly around the perceived boundaries between popular and classical music (such as chanson or mélodie). It addresses how the language we use to describe poetry’s relationship with music relies on extensive interart analogies, and explores whether recent

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13

Fairclough, Pauline. “We Should Not Sing of Heaven and Angels”. Edited by Patricia Hall. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.8.

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This chapter examines the changing ways in which Western sacred music was performed in concerts at major cultural centers in Russia during the period 1917–1964. It first considers early Soviet policy on Western sacred works including the repertoire of the Leningrad State Academic Capella, led by Mikhail Klimov who served as conductor and director from 1918 through 1935. The chapter goes on to assess the impact of both the Russian Association of Proletarian Musicians in the late 1920s and the effect of Stalinism in the 1930s and 40s. Finally, it comments on the preservation of part of Johann Se

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14

Phillips, Tom, and Armand D'Angour, eds. Music, Text, and Culture in Ancient Greece. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794462.001.0001.

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This book explores the interaction between music and poetry in ancient Greece. Although scholars have long recognized the importance of music to ancient performance culture, little has been written on the specific effects that musical accompaniment and features such as rhythmical structure and melody would have created in individual poems. The chapters in the first half of the volume engage closely with the evidential and interpretative challenges that this issue poses, and propose original readings of a range of texts, including Homer, Pindar, and Euripides, as well as later poets such as Sei

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15

André, Naomi. Black Opera. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041921.001.0001.

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This is a book about thinking, interpreting, and writing about music in performance that incorporates how race, gender, sexuality, and nation help shape the analysis of opera today. Case-study operas are chosen within the diaspora of the United States and South Africa. Both countries had segregation policies that kept black performers and musicians out of opera. During the civil rights movement and after apartheid, black performers in both countries not only excelled in opera, they also began writing their own stories into the genre. Featured operas in this study span the Atlantic and bring to

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16

Setting the Record Straight: The music and careers of recording artists from the 1950s and early 1960s . in their own words. AuthorHouse, 2007.

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17

McCarthy, Kerry. Tallis. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190635213.001.0001.

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The composer Thomas Tallis (ca. 1505–November 1585) lived and worked through much of the turbulent Tudor period in England. Unlike many of his contemporaries, he did not just react to radical change: he thrived on it. He helped invent new musical styles to meet the demands of the English Reformation. He revived and reimagined older musical forms for a new era. Fewer than a hundred of his works have survived, but they are incredibly diverse, from miniature settings of psalms and hymns to a monumental forty-voice motet. In this new biography, author Kerry McCarthy traces Tallis’s long career fro

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18

1859-1938, Wodell Frederick W., ed. Official text-book and programme of the Queen's jubilee musical festival at the Crystal Palace, Hamilton, Canada, June 21st and 22nd, 1887: Containing programmes of the concerts; words of the oratorios; descriptions of the oratorios; an historical account of the principal musical performances given in Hamilton; biographical sketches, with portraits of the conductors and soloisits ... F.H. Torrington, musical director. Hamilton Philharmonic Society, 1994.

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19

Bernstein, Zachary. Thinking In and About Music. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190949235.001.0001.

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Milton Babbitt (1916–2011) was, at once, one of the century’s foremost composers and a founder of American music theory. These two aspects of his creative life—“thinking in” and “thinking about” music, as he would put it—nourished each other. Theory and analysis inspired fresh compositional ideas, and compositional concerns focused theoretical and analytical inquiry. Accordingly, this book undertakes an excavation of the sources of his theorizing as a guide to analysis of his music. Babbitt’s idiosyncratic synthesis of ideas from Heinrich Schenker, analytic philosophy, and cognitive science—at

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20

Shrock, Dennis. Igor Stravinsky – Mass. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469023.003.0010.

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This chapter begins with a survey of the vast amount of European choral music Stravinsky was exposed to in his youth and his fascination with the sounds of language in the Russian Orthodox Church. This is followed by a survey of the many modern-era Masses based on historic models as well as a survey of the many Stravinsky compositions so based. The music of the Mass is discussed in terms of its neo-Gothic and neo-Renaissance attributes and its mirror formal structures. Performance practice issues address the cubist-like setting of text and its close relationship to the text setting of Francis

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21

Abbott, Helen. Baudelaire in Song. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.001.0001.

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Exploring the work of the major nineteenth-century French poet Charles Baudelaire (1821–67), this book examines how and why Baudelaire’s poetry has inspired so many composers to set it to music in different ways. The author proposes a new model for analysing song, through an ‘assemblage’ approach, which examines the complex relationships formed between common features of poetry and music, including metre/prosody, form/structure, sound properties/repetition, and semantics. The model also factors in the realities of song as a live performance genre, revealing which parameters of song emerge as s

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22

Voutilainen, Atro. Part-of-Speech Tagging. Edited by Ruslan Mitkov. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199276349.013.0011.

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This article outlines the recently used methods for designing part-of-speech taggers; computer programs for assigning contextually appropriate grammatical descriptors to words in texts. It begins with the description of general architecture and task setting. It gives an overview of the history of tagging and describes the central approaches to tagging. These approaches are: taggers based on handwritten local rules, taggers based on n-grams automatically derived from text corpora, taggers based on hidden Markov models, taggers using automatically generated symbolic language models derived using

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23

Hardy, Thomas, and Margaret R. Higonnet. The Return of the Native. Edited by Simon Gatrell. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199537044.001.0001.

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‘To be loved to madness - such was her great desire’ Eustacia Vye criss-crosses the wild Egdon Heath, eager to experience life to the full in her quest for 'music, poetry, passion, war'. She marries Clym Yeobright, native of the heath, but his idealism frustrates her romantic ambitions and her discontent draws others into a tangled web of deceit and unhappiness. Early readers responded to Hardy's 'insatiably observant' descriptions of the heath, a setting that for D. H. Lawrence provided the 'real stuff of tragedy'. For modern readers, the tension between the mythic setting of the heath and th

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24

Parsons, Laurel, and Brenda Ravenscroft. Josephine Lang, “An einer Quelle” (1840/1853) and “Am Morgen” (1840). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190237028.003.0008.

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Among the approximately 300 songs of Josephine Lang (1815–1880), there are several instances of setting the same text to strikingly different music. This chapter discusses Lang’s contrasting settings of two poems by Reinhold Köstlin. Her three settings of “Wenn das Herz dir ist beklommen” (two composed in 1840, the third in 1853) exhibit similarities in vocal rhythm and in motivic structure, but differ in key, in accompaniment pattern, and, most obviously, in mood. The two settings of “Am Morgen” (composed three days apart in 1840) are in the same key and share certain patterns of line repetit

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25

Abbott, Helen. Gustave Charpentier. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.003.0005.

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Known for his 1900 opera, Louise, Gustave Charpentier also published seven Baudelaire songs: four as a set called Les Fleurs du mal; three alongside settings of other poets in Poèmes chantés, a collection of sixteen songs. Charpentier’s Baudelaire songs stand out, and challenge their status as melodies, for their use of refrains for female mini-chorus. The analysis covers: the context of composition; the connections established between selected poems; the statistical data generated from the adhesion strength tests; and how the data shape an evaluation of Charpentier’s settings of Baudelaire. T

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26

Abbott, Helen. Conclusions. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.003.0009.

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Baudelaire’s appearance in song is not a chance by-product of his reception history but an integral part of it. The 1880–1930 period covered in this book shows how Baudelaire’s poetry adapted to new musical soundscapes during an era of development in song forms across Europe. Not all agree that Baudelaire’s poetry is ‘well-suited’ to musical settings, but the reach of his poetry is extensive, and the varying levels of ‘success’ of each song confirm that song is predicated on impermanence. Baudelaire settings remain open to new interpretations and resist conformity of treatment. While there are

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27

Emerson, Caryl, George Pattison, and Randall A. Poole, eds. The Oxford Handbook of Russian Religious Thought. Oxford University Press, 2020. http://dx.doi.org/10.1093/oxfordhb/9780198796442.001.0001.

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The Oxford Handbook of Russian Religious Thought is an authoritative new reference and interpretive volume detailing the origins, development, and influence of one of the richest aspects of Russian cultural and intellectual life – its religious ideas. After setting the historical background and context, the Handbook follows the leading figures and movements in modern Russian religious thought through a period of immense historical upheavals, including seventy years of officially atheist communist rule and the growth of an exiled diaspora with, e.g., its journal The Way. Therefore the shape of

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28

Gagliano, Marco da. Madrigals, Part 6. Edited by Edmond Strainchamps. A-R Editions, 2021. http://dx.doi.org/10.31022/b223.

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Il sesto libro de madrigali a cinque voci, Marco da Gagliano's final book in the genre, was published in 1617, nine years after its predecessor. In the book's dedication Gagliano indicated that its music was composed the year before, and not earlier in the gap between the two books. Book 6 was popular enough that it was reprinted in 1620, and although he lived another twenty-six years, Gagliano published no more madrigals. There are sixteen compositions in the book, fourteen of them by Gagliano, one by Lodovico Arrighetti, and one by an unnamed composer who was most certainly Ferdinando Gonzag

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