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

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

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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Bowers, Roger. "The ‘votive antiphon’ among other sacred textual forms." Early Music 48, no. 2 (2020): 147–55. http://dx.doi.org/10.1093/em/caaa021.

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Abstract Alongside settings of liturgical texts effected in manners strictly consistent with liturgical performance, there survive large numbers of early vocal pieces engaging Latin words of a religious or devotional nature all commonly subsumed together, both then and now, under the ‘catch-all’ term of ‘motet’. These, however, encompassed a remarkably diverse range of textual content, each destined for a distinct performance occasion and purpose no less likely to have been domestic than ecclesiastical; and these textual types, in turn, possess potential to have been reflected in corresponding

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Ossi, Massimo. ""Pardon me, but your teeth are in my neck": Giambattista Marino, Claudio Monteverdi, and the bacio mordace." Journal of Musicology 21, no. 2 (2004): 175–200. http://dx.doi.org/10.1525/jm.2004.21.2.175.

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Claudio Monteverdi's "Eccomi pronta ai baci" presents an odd pairing of a first-person female voice with a three-voice low male ensemble; in addition, the text, by Giambattista Marino, deals with the subject of the "bacio mordace" [biting kiss], and the female speaker invites her lover to kiss her but warns him against biting her. He of course betrays her, and the poem closes with her outraged complaint and vow never to kiss him again. The combination of text, singing voices, and expressive qualities invoked in the setting suggests that Monteverdi went beyond the conceit of Marino's madrigal i

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Kim, Minji. "Handel’s choruses of ‘praise and thanksgiving after victory’ and Non nobis Domine." Early Music 47, no. 4 (2019): 551–68. http://dx.doi.org/10.1093/em/caz070.

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Abstract Handel highlights several climactic moments in his works with choruses composed of closely related cantus firmus themes and contrapuntal settings. Parallels can be traced through individual sections of some of the key compositions that define his career in England: ‘Oh Lord, in thee have I trusted’, from the Utrecht Te Deum (1713), ‘Blessed be God’, from Let God arise (1717–18/1726), ‘I will sing’, from Israel in Egypt (1738), and ‘Hallelujah’ from Messiah (1741). The common purpose of giving thanks and praise to God for military victory further links these choruses. While several dif

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Turmudzi, Muhammad Imam. "SEGMENTASI SISTEM TANDA TEKS DRAMA SURREAL “LAKI-LAKI LAUT” KARYA IWAN EFFENDI: PERSPEKTIF TADEUSZ KOWZAN." ALAYASASTRA 16, no. 1 (2020): 135. http://dx.doi.org/10.36567/aly.v16i1.356.

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ABSTRAKPenelitian ini mendeskripsikan tanda dalam teks drama surreal “Laki-Laki Laut” karya Iwan Effendi dengan cara mengklasifikasikannya menjadi beberapa segmen sistem tanda. Pendekatan yang digunakan adalah semiotika teater Tadeusz Kowzan yang berfokus pada tiga belas sistem tanda dalam teks drama. Sumber data penelitian adalah teks drama surreal “Laki-Laki Laut” karya Iwan Effendi yang penulis dapatkan langsung dari pengarang. Data diperoleh dengan teknik baca dan catat. Penelitian ini merupakan penelitian deskriptif kualitatif. Hasil penelitian menunjukkan segmentasi tiga belas sistem tan

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LEIPERT, TRENT. "Lachenmann's Silent Voices (and the Speechless Echoes of Nono and Stockhausen)." Twentieth-Century Music 16, no. 3 (2019): 589–619. http://dx.doi.org/10.1017/s1478572219000021.

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AbstractIn order to assess Helmut Lachenmann's characterization of (his) music as an ‘existential experience’ this article focuses on a specific aspect of many of his compositions: stretches of near-silence and minimized musical activity such as reduced dynamics and gestures which contrasts the surrounding material. I argue that in the case of his early vocal compositions Consolation I and II (1967 and 1968) these ‘meta-musical fermatas’ relate to a key portion of each work's text in order to encourage self-reflection on the part of the listener. My analyses reveal the influence of Luigi Nono

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Braun, Michael. "Bartóks originale Vokalmusik Gemeinsamkeiten in Textwahl, Textbehandlung und Stil." Studia Musicologica 53, no. 1-3 (2012): 199–210. http://dx.doi.org/10.1556/smus.53.2012.1-3.15.

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The inventory of Béla Bartók’s original vocal compositions produces a heterogeneous impression: as regards to scoring, form, the derivation of the text, and the attitude of expression, the opera Bluebeard’s Castle, the two collections of songs opp. 15 and 16, Cantata profana for Soli, Choir and Orchestra, and the a cappella series Elmúlt időkből (From Bygone Times) and Twenty-Seven Two- and Three-Part Choruses apparently do not form a homogeneous group. However, they do share the common characteristic of being born as original music out of pre-existing texts. Stylistic features and peculiariti

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Majer-Bobetko, Sanja. "Between music and ideologies: Croatian music criticism from the beginning to World War II." Muzyka 63, no. 4 (2018): 55–64. http://dx.doi.org/10.36744/m.344.

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As the Croatian lands were exposed to often aggressive Austrian, Hungarian, and Italian politics until WWI and in some regions even later, so Croatian music criticism was written in the Croatian, German and Italian languages. To the best of our knowledge, the history of Croatian music criticism began in 1826 in the literary and entertainment journal Luna, and was written by an anonymous author in the German language.A forum for Croatian language music criticism was opened in Novine Horvatzke, i.e. in its literary supplement Danica horvatska, slavonska i dalmatinska in 1835, which officially st

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Duerden, Rachel. "The Mis-shapen Pearl: Morris, Handel, Milton, and L'Allegro, il Penseroso ed il Moderato." Dance Research 28, no. 2 (2010): 200–217. http://dx.doi.org/10.3366/drs.2010.0104.

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Mark Morris's L'Allegro, Il Penseroso ed Il Moderato (1988), embodies ideas about how to live a good life. L'Allegro is unusual in that it is a full evening-length work, yet has no through-narrative; it has characters and action, but these change in each of the many individual sections. However, together these embody a dialogue – really a three (or four or even five)-way discussion between poet, composer and choreographer about the best way to live. The relationship between dance, music and text, and the implied conversation across the centuries between Milton, Handel, Jennens and Morris, offe

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Brand, Benjamin Brand. "Viator ducens ad celestia Eucharistic Piety, Papal Politics, and an Early Fifteenth-Century Motet." Journal of Musicology 20, no. 2 (2003): 250–84. http://dx.doi.org/10.1525/jm.2003.20.2.250.

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Fifteenth-century Italy witnessed the marked expansion of the patron's role in the composition and performance of music. Despite the concern and resources that Renaissance princes and ecclesiastics devoted to their musical institutions, however, instances of actual collaboration between patrons and composers are quite rare. This essay considers just such an instance, Matteo da Perugia's Ave sancta mundi / Agnus Dei. A careful examination of this early 15th-century Eucharistic motet reveals that the composer's patron, the cardinal and friar Peter of Candia, likely played a crucial role in selec

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WEAVER, ANDREW H. "Divine Wisdom and Dolorous Mysteries: Habsburg Marian Devotion in Two Motets from Monteverdi's Selva morale et spirituale." Journal of Musicology 24, no. 2 (2007): 237–71. http://dx.doi.org/10.1525/jm.2007.24.2.237.

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Despite recent scholarly interest in Monteverdi's Selva morale et spirituale (1641), many aspects of this large, complex print remain enigmatic, and the intended context for much of the music in the collection has long been a matter of pure conjecture. Yet two of the most anomalous features of the Selva morale, the solo motets Ab aeterno ordinata sum and Pianto della Madonna, can now be placed into the context of the Habsburg court in Vienna during the reign of Ferdinand III (1637––57). Both of these works play directly into the most important aspects of Habsburg Marian devotion. Ab aeterno is

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Wakimoto, Diana K. "Younger Adults Derive Pleasure and Utilitarian Benefits from Browsing for Music Information Seeking in Physical and Digital Spaces." Evidence Based Library and Information Practice 7, no. 3 (2012): 92. http://dx.doi.org/10.18438/b8dg7z.

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Objective – This study’s objective was to identify the utilitarian and hedonic features of satisfying music information seeking experiences from the perspective of younger adults when using physical and digital music information retrieval (MIR) systems in their daily lives.   Design – In-depth, semi-structured interviews.  Setting – Large public library in Montreal, Canada.  Subjects – 15 French-speaking younger adults, 10 males and 5 females (aged 18 to 29 years, mean age of 24 years).  Methods – A pre-test was completed to test the interview gu

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Arifani, Yudhi. "Optimizing EFL Learners’ Sensitizing Reading Skill: Development of Local Content-Based Textbook." English Language Teaching 9, no. 5 (2016): 1. http://dx.doi.org/10.5539/elt.v9n5p1.

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<p>The development of local wisdom based sensitizing reading material is aimed at penetrating one of the imperishable gaps between authentic and non-authentic reading materials dispute in an EFL teaching context. Promoting EFL learners’ needs for the first semester students of English department at university level, who rarely or even never have a direct contact with native speakers, with meaningful and contextual reading textbook in an EFL setting is worth contributing. This study utilizes research and development paradigm within four stages, namely planning, development, try-out, and t

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Sharifi, Hamid. "Norms governing the localization of video games." Journal of Internationalization and Localization 3, no. 1 (2016): 61–73. http://dx.doi.org/10.1075/jial.3.1.04sha.

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Garshasp: Temple of the Dragon (2012) is a 3D, 3rd person action-adventure hack ‘n’ slash indie game developed by Dead Mage for English gamers and Fanafzar Sharif for local use. It was one of the early Persian forerunners to be majorly localized and distributed throughout the English community. It takes a mythology that westerners are probably not familiar with and presents it in a third person action setting that most audiences can understand (MetaCritic 2012). This and more is what Garshasp offers from its home country demonstrated through its lovely art design, pompous music, and a great na

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Mihkelev, Anneli. "Folk Tradition and Multimedia in Contemporary Estonian Culture." Interlitteraria 24, no. 2 (2020): 396–407. http://dx.doi.org/10.12697/il.2019.24.2.10.

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The legends of the kratt or the treasure-bearer have existed in lively oral tradition in Estonian culture for a very long time. These myths and legends have traversed from the oral tradition to literary works, visual culture and music. All these texts on the kratt exist in the culture as metatexts which create the world of the kratt, where different cultural memories and interpretations are intertwined. This means that the kratt as a cultural text is also a multimedial text. Different media use different tools and this makes the interpretations more playful and interesting. Andrus Kivirähk’s n

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Youmans, Gilbert. "The Vocabulary-Management Profile: Two Stories by William Faulkner." Empirical Studies of the Arts 12, no. 2 (1994): 113–30. http://dx.doi.org/10.2190/by6n-abua-em1d-rx0v.

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The Vocabulary-Management Profile (VMP) is a graph of the moving average of the number of new vocabulary words introduced over successive intervals of text. Peaks and valleys on the VMP correlate closely with narrative structure: new episodes, new settings, new characters are signaled by an increase in new vocabulary, and hence by upturns on the curve. Conversely, downturns in the VMP normally signal a continuation of the episode, description, or characterization. Higher-level boundaries in discourse (such as those between paragraphs and narrative episodes) normally correspond with deeper vall

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Flores, Alexander. "Offenbach in Arabien." Die Welt des Islams 48, no. 2 (2008): 131–69. http://dx.doi.org/10.1163/157006008x335912.

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AbstractTwice, the theatre of Jacques Offenbach exerted a marked influence on musical theatre in Egypt. The first occasion was a number of performances of his most popular opéra-bouffes, in French and by French artists, around 1870. The ruler, Ismā'īl, tried to introduce European culture in Egypt and gave Offenbach's work a central role in that endeavour. With Ismā'īl's decline, that attempt was discontinued. The second appearance occurred in 1920/21. Then, two of the most popular musical comedies of the famous Egyptian composer Sayyid Darwīš had Offenbach's works as their sources. These works

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Zhou, Daping. "The Theoretical Background for the Chinese Composers Piano Music Genre Peculiarities Research." Aspects of Historical Musicology 14, no. 14 (2018): 180–206. http://dx.doi.org/10.34064/khnum2-14.13.

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Introduction. The given paper is devoted to questions, which make up the dissertation research section upon the genre semantics of the Chinese composers’ solo piano creations. The general theoretic background for the vast amount of the musical artifacts studying is specified in the current section. Theoretical background. In his studying of the Chinese composers’ piano creative work the author follows the research trend, originated by G. Schneerson, Lui Ji, Wei Tinge, Liu Fuan, Zhang Xiaohu, Zhang Qian and others. In particular, the current research is based upon the works by Bu Li, Bian Meng,

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Rosenwald, Lawrence. "Theory, Text-Setting, and Performance." Journal of Musicology 11, no. 1 (1993): 52–65. http://dx.doi.org/10.2307/764152.

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Rosenwald, Lawrence. "Theory, Text-Setting, and Performance." Journal of Musicology 11, no. 1 (1993): 52–65. http://dx.doi.org/10.1525/jm.1993.11.1.03a00070.

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Merkley, Cari. "Music Information Seeking Behaviour Poses Unique Challenges for the Design of Information Retrieval Systems." Evidence Based Library and Information Practice 5, no. 4 (2010): 90. http://dx.doi.org/10.18438/b8t621.

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Objective – To better understand music information seeking behaviour in a real life situation and to create a taxonomy relating to this behaviour to facilitate better comparison of music information retrieval studies in the future.  Design – Content analysis of natural language queries.  Setting – Google Answers, a fee based online service.  Subjects – 1,705 queries and their related answers and comments posted in the music category of the Google Answers website before April 27, 2005.  Methods – A total of 2,208 queries were retrieved from the mu

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Liu, Xia. "The specifics of the narrative in the opera genre." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 170–83. http://dx.doi.org/10.34064/khnum1-55.12.

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Logical reason for research. The opera art remains an object of high attention of the public, and of the composing and performing art; it has a diverse repertoire in various historical, national and author’s styles, it is presented by interesting results in the field of innovations and theatre experiments. This situation has always led to theoretical understanding and generalization in musicology studies at various levels; it raises many questions related to the genesis and development of the opera genre, its historical path, both in historical, cultural and theoretical understanding, as well

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Fink, Robert. "Rhythm and Text Setting in "The Mikado"." 19th-Century Music 14, no. 1 (1990): 31–47. http://dx.doi.org/10.2307/746674.

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Fink, Robert. "Rhythm and Text Setting in "The Mikado"." 19th-Century Music 14, no. 1 (1990): 31–47. http://dx.doi.org/10.1525/ncm.1990.14.1.02a00020.

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May, William. "The Siren Alps: Text-setting and Gender." Contemporary Music Review 29, no. 2 (2010): 201–13. http://dx.doi.org/10.1080/07494467.2010.534930.

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Lytvyshchenko, O. V. "O. I. Nazarenko as a coryphaeus of the Kharkiv accordion school: formation of the authorial style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 43–56. http://dx.doi.org/10.34064/khnum1-56.03.

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Problem statement. The pedagogical activity of the Merited Artist of Ukraine, Professor O. I. Nazarenko is more than fifty years old. The maestro’s name will become history of the Department of Folk Instruments of Kharkiv I. P. Kotliarevskyi National University of Arts. It is impossible to disregard O. Nazarenko’s creative achievements and multifaceted activity, first, because his enormous contribution to the development of the academic accordion in Kharkiv and his authority reaches far beyond Kharkiv and Ukraine. Well-known modern accordionists and orchestral ensembles perform the composer’s

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Sokolova, Natalia Vladimirovna. "Multimodal IT marketing discourse: An integrated approach investigation." Russian Journal of Linguistics 24, no. 2 (2020): 366–85. http://dx.doi.org/10.22363/2687-0088-2020-24-2-366-385.

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Websites of software vendors feature verbal and nonverbal means providing for a number of parameters to be taken into account in order to gain more comprehensive insights into the range and interplay of the means in use. This paper investigates the multimodal website marketing discourse of Microsoft , Oracle, and SAP relying on an approach which makes use of multimodal critical discourse analysis, pragmatics, and text linguistics. The integrated framework allows for consideration of the discourse-generating intention of the locutionary source, the discourse function, verbal content categories

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Hutton-Williams, Francis. "Samuel Beckett and Morton Feldman's ‘Text-Music Tandem’ in Words and Music." Modernist Cultures 8, no. 1 (2013): 100–119. http://dx.doi.org/10.3366/mod.2013.0053.

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Caswell, Glenys. "Beyond Words: Some Uses of Music in the Funeral Setting." OMEGA - Journal of Death and Dying 64, no. 4 (2012): 319–34. http://dx.doi.org/10.2190/om.64.4.c.

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Music is a common feature of funerals, both in terms of sacred music and also secular music when a funeral is personalized to the individual who has died. Drawing on data from research exploring Scottish funeral practices, this article examines some of the ways in which music can be used during a funeral. It suggests five specific uses of music in the funeral context: the use of music as a means of control; the use of music as a means of inclusion and exclusion; music as a source of collective activity; music as a means of creating or shifting emotion; and music as a means of evoking the memor

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Armstrong, Paul B., and Murray Krieger. "Words about Words about Words: Theory, Criticism, and the Literary Text." Journal of Aesthetics and Art Criticism 48, no. 1 (1990): 96. http://dx.doi.org/10.2307/431211.

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HORNBY, EMMA. "Text and formula in the Milanese cantus." Plainsong and Medieval Music 22, no. 1 (2013): 1–35. http://dx.doi.org/10.1017/s0961137112000095.

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ABSTRACTThis analytical article aims to establish the melodic grammar of the in directum Milanese cantus. Deviations from the generic norms might be experienced in performance as emphasising the words with which they appear. Certain texts (particularly ‘domin-’) are often associated with melodic shapes found elsewhere in the genre on the same words, regardless of what one might expect to encounter formally. Chants that share similar liturgical functions, or which appear in close liturgical proximity, often share melodic material and formal strategies. Building on and responding to Bailey's The

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ARMSTRONG, PAUL B. "Krieger, Murray. Words About Words About Words: Theory, Criticism, and The Literary Text." Journal of Aesthetics and Art Criticism 48, no. 1 (1990): 96. http://dx.doi.org/10.1111/1540_6245.jaac48.1.0096.

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Rodgers, S. "Sentences with Words: Text and Theme-Type in Die schone Mullerin." Music Theory Spectrum 36, no. 1 (2014): 58–85. http://dx.doi.org/10.1093/mts/mtu007.

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Tyler, Linda. "Bastien und Bastienne: The Libretto, Its Derivation, and Mozart's Text-Setting." Journal of Musicology 8, no. 4 (1990): 520–52. http://dx.doi.org/10.2307/763534.

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Tyler, Linda. "Bastien und Bastienne: The Libretto, Its Derivation, and Mozart's Text-Setting." Journal of Musicology 8, no. 4 (1990): 520–52. http://dx.doi.org/10.1525/jm.1990.8.4.03a00050.

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Shields, Allan, and Murray Krieger. "Words about Words: Theory, Criticism, and the Literary Text." Leonardo 22, no. 3/4 (1989): 451. http://dx.doi.org/10.2307/1575439.

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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 poe

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Kyriakides, Yannis. "Hearing Words Written." Organised Sound 21, no. 3 (2016): 233–41. http://dx.doi.org/10.1017/s1355771816000200.

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Over the past few years, I have developed a form of composition – which I callmusic–text–film –in which I explore the dynamics between sound, words and visuals. In this article I will attempt to explain how meaning is constructed in the interplay between these layers of media. Taking as an example three of my works,Subliminal: The Lucretian Picnic,Dreams of the BlindandThe Arrest, I analyse and discuss aspects of narrative, point of view, metaphor and cross-modal perception, as a way of understanding how multimedia art, specifically in the audiovisual domain, is experienced. One of the issues

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Pintér, Csilla. "The music of words in Béla Bartók’s Twenty-Seven Choruses." Studia Musicologica 53, no. 1-3 (2012): 141–52. http://dx.doi.org/10.1556/smus.53.2012.1-3.10.

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Bartók’s two- and three-part choruses for children’s and female voices are his best-known choral works worldwide. Nevertheless, the cycle as a whole does not enjoy a wide popularity outside of Hungary. The reason for this lies in the fact that, being a textually inspired composition written in an inaccessible language, it is internationally rarely performed due to difficulties of pronunciation and accentuation — not to mention the difficulties of translation. Text has a very special role in Bartók’s vocal works, where words do not act only through their meaning, nor do they function merely as

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Newcomb, Anthony. "LUZZASCHI'S SETTING OF DANTE: ‘QUIVI SOSPIRI, PIANTI, ED ALTI GUAI’." Early Music History 28 (August 24, 2009): 97–138. http://dx.doi.org/10.1017/s0261127909000424.

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This article examines the Ferrarese cultural context surrounding the virtually unprecedented choice of a text from Dante's Commedia for setting in Luzzaschi's Second Book of Madrigals of 1576. A particular focus is the quarrel in literary criticism of the early years of the 1570s over the place of Dante in the Italian literary firmament, and the position of the influential Modenese critic and philologist Lodovico Castelvetro in this quarrel. I speculate that Castelvetro, a subject of the duke of Ferrara, may have had a role in the choice of text. I also speculate that the disastrous Ferrarese

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Xu, Yulan, and Qiaowei Li. "Music Classification and Detection of Location Factors of Feature Words in Complex Noise Environment." Complexity 2021 (April 20, 2021): 1–12. http://dx.doi.org/10.1155/2021/5518967.

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In order to solve the problem of the influence of feature word position in lyrics on music emotion classification, this paper designs a music classification and detection model in complex noise environment. Firstly, an intelligent detection algorithm for electronic music signals under complex noise scenes is proposed, which can solve the limitations existing in the current electronic music signal detection process. At the same time, denoising technology is introduced to eliminate the noise and extract the features from the signal. Secondly, from the perspective of audio and lyrics of song sent

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