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Lyric cousins : poetry and musical form /
Leading poet, critic and former musician explores the 'deep forms' common to both poetry and music. Today, poetry and art music occupy similar cultural positions: each has a tendency to be regarded as problematic, ÃǾ²Ơ℗difficult' and therefore ÃǾ²Ơ℗₋elitist'. Despite this, th...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Edinburgh :
Edinburgh University Press,
[2016]
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 020 | |a 9781474402934 |q (electronic bk.) | ||
| 020 | |a 1474402933 |q (electronic bk.) | ||
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| 050 | 4 | |a ML3849 |b .S1815 2016eb | |
| 072 | 7 | |a LIT004120 |2 bisacsh | |
| 072 | 7 | |a MUS001000 |2 bisacsh | |
| 072 | 7 | |a LIT014000 |2 bisacsh | |
| 072 | 7 | |a MUS020000 |2 bisacsh | |
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| 049 | |a UAMI | ||
| 100 | 1 | |a Sampson, Fiona, |e author. | |
| 245 | 1 | 0 | |a Lyric cousins : |b poetry and musical form / |c Fiona Sampson. |
| 264 | 1 | |a Edinburgh : |b Edinburgh University Press, |c [2016] | |
| 264 | 4 | |c ©2016 | |
| 300 | |a 1 online resource (viii, 232 pages) : |b illustrations | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 347 | |a data file |2 rda | ||
| 504 | |a Includes bibliographical references and index. | ||
| 505 | 0 | |a About time -- Abstract form -- Drawing the line -- Chromaticism -- Density -- The meaning of 'meaning' -- Song -- And story came too : from epic to opera -- Closer still : the total artwork -- The consolations of tradition -- Radical measures -- Performance : the role of the audience. | |
| 520 | |a Leading poet, critic and former musician explores the 'deep forms' common to both poetry and music. Today, poetry and art music occupy similar cultural positions: each has a tendency to be regarded as problematic, ÃǾ²Ơ℗difficult' and therefore ÃǾ²Ơ℗₋elitist'. Despite this, the audiences and numbers of participants for each are substantial: yet they tend not to overlap. This is odd, because the forms share early history in song and saga, and have some striking similarities, often summed up in the word 'lyric'. These similarities include much that is most significant to the experience of each, and so of most interest to practitioners and audiences. They encompass, at the very least: the way each art-form is aural, and takes place in time; a shared reliance on temporal, rather than spatial, forms; an engagement with sensory experience and pleasure; availability for both shared public performance and private reading, sight-reading and hearing in memory; and scope for non-denotative meaning. In other words, looking at these elements in music is a way to look at them in poetry, and vice versa. This is a study of these two formal craft traditions that is concerned with the similarities in their roles, structures, projects and capacities. Key Features. Sets out a new way to think about both music and poetry Doesn't make its arguments from within or for one particular school of music or poetry but has wide applicability Uses each 'cousin' art-form to cast light on the other as a whole: it is not just for poet-musicians, or musicians writing for voice A rare 'joint' perspective: written by an award-winning poet who was formerly a professional musician Today, poetry and art music occupy similar cultural positions: each has a tendency to be regarded as problematic, 'difficult' and therefore 'elitist'. Despite this, the audiences and numbers of participants for each are substantial: yet they tend not to overlap. This is odd, because the forms share early history in song and saga, and have some striking similarities, often summed up in the word 'lyric'. These similarities include much that is most significant to the experience of each, and so of most interest to practitioners and audiences. They encompass, at the very least: the way each art-form is aural, and takes place in time; a shared reliance on temporal, rather than spatial, forms; an engagement with sensory experience and pleasure; availability for both shared public performance and private reading, sight-reading and hearing in memory; and scope for non-denotative meaning. In other words, looking at these elements in music is a way to look at them in poetry, and vice versa. | ||
| 590 | |a JSTOR |b Books at JSTOR All Purchased | ||
| 590 | |a JSTOR |b Books at JSTOR Evidence Based Acquisitions | ||
| 590 | |a JSTOR |b Books at JSTOR Demand Driven Acquisitions (DDA) | ||
| 650 | 0 | |a Music and literature. | |
| 650 | 0 | |a Poetry |x Musical settings. | |
| 650 | 0 | |a Poetry |x History and criticism. | |
| 650 | 6 | |a Musique et littérature. | |
| 650 | 6 | |a Poésie |x Mises en musique. | |
| 650 | 6 | |a Poésie |x Histoire et critique. | |
| 650 | 7 | |a LITERARY CRITICISM |x European |x English, Irish, Scottish, Welsh. |2 bisacsh | |
| 650 | 7 | |a Music and literature |2 fast | |
| 650 | 7 | |a Poetry |2 fast | |
| 650 | 7 | |a Musik |2 gnd | |
| 650 | 7 | |a Lyrik |2 gnd | |
| 650 | 7 | |a Musikalische Form |2 gnd | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast | |
| 655 | 7 | |a Musical settings |2 fast | |
| 776 | 0 | 8 | |i Print version: |z 9781474402927 |z 1474402925 |w (OCoLC)950450645 |
| 856 | 4 | 0 | |u https://jstor.uam.elogim.com/stable/10.3366/j.ctt1g0501b |z Texto completo |
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| 994 | |a 92 |b IZTAP | ||