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"Musical settings"
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Baudelaire in song : 1880-1930
\"Taking the work of the major nineteenth-century French poet Charles Baudelaire (1821-67) as its main impetus, the volume examines how Baudelaire's poetry has inspired composers of all genres across the globe, from the 1860s to the present day. The case studies focus on Baudelaire song sets by European composers between 1880 and 1930, specifically Maurice Rollinat, Gustave Charpentier, Alexander Gretchaninov, Louis Vierne, and Alban Berg. Using this corpus, it tests out the assemblage model to uncover what happens to Baudelaire's poetry when it is set to music. It factors in the realities of song as a live performance genre, and reveals which parameters of song emerge as standard for French text-setting, and where composers diverge in their approach.\"--Back cover.
BOOK
Wee Sing Mother Goose
Over seventy traditional songs and rhymes set to music, from 'Jack and Jill' to 'Humpty Dumpty,' for children of all ages.
Book
Live from the Homesick Jamboree
Live from the Homesick Jamboree is a brave, brash, funny, and tragic hue and cry on growing up female during the 1970s, \"when everything was always so awash\" that the speaker finds herself adrift among adults who act like children. The book moves from adolescence through a dry-eyed, poignant exploration of two marriages, motherhood, and the larger world, with the headlong perceptiveness and brio characteristic of Adrian Blevins's work. This poetry is plainspoken and streetwise, brutal and beautiful, provocative and self-incriminating, with much musicality and a corrosive bravura, brilliantly complicated by bursts of vernacular language and flashes of compassion. Whether listening to Emmylou Harris while thinking she should be memorizing Tolstoy, reflecting on her \"full-to-bursting motherliness,\" aging body, the tensions and lurchings of a relationship, or \"the cockamamie lovingness\" of it all, the language flies fast and furious. As the poet Tony Hoagland wrote of Blevins's previous book, The Brass Girl Brouhaha, \"this is the dirty, trash-talking, highly edified real thang.\"
eBook
Heggie and Scheer's Moby-Dick
\"Book describes the world premiere of the American opera based on Melville's novel Moby-Dick, with the same name. Wallace describes the creative process of writing the music and libretto, the rehearsals and stage design, and the opening night in Dallas in May 2010.\"--ECIP Data View, Summary.
eBook
Hugo Wolf and his Mörike Songs
Viennese composer Hugo Wolf produced one of the most important song collections of the nineteenth century when he set to music fifty-three poems by the great German poet Eduard Mörike. Susan Youens reappraises this singular collaboration to shed new light on the sophisticated interplay between poetry and music in the songs. Wolf is customarily described as 'the Poet's Composer', someone who revered poetry and served it faithfully in his music. Yet, as Youens reveals, this cliché overlooks the rich terrain in which his songs are often at cross purposes with his chosen poetry. Although Wolf did much to draw the world's attention to the neglected Swabian poet, his musical interpretation of the poetry was also influenced by his own life, psychology and experiences. This book examines selected Mörike songs in detail, demonstrating that the poems and music each have their own distinctive stories which at times intersect but also diverge.
eBook
Entlang der Exegese
The article deals with Psalm 130 as set to music by Heinrich Schütz, Christoph Bernhard, Johann Schelle, and Johann Sebastian Bach. By taking into consideration prevailing interpretations of the Psalm within Lutheran orthodoxy and analyzing the design and compositional techniques of each individual setting, one can see how these composers’ stylistic decisions can, in part, be traced back to exegetical interpretations. In spite of the distinctiveness of each setting and the obvious differences in genre and style, a continuity between the composers becomes apparent. As a result of this case study, generalizations in older source materials that focus on Heinrich Schütz’s “Protestant” compositional style become more relative, concrete, and embedded in a broader frame of reference.
Journal Article