Word and Music Studies: Essays on the Song Cycle and on Defining the Field : Proceedings of the Second International Conference on Word and Music Studies at Ann Arbor, MI, 1999
Walter Bernhart, Werner Wolf, David L. Mosley
Rodopi, 2001 - History - 253 pages
This volume assembles twelve interdisciplinary essays that were originally presented at the Second International Conference on Word and Music Studies at Ann Arbor, MI, in 1999, a conference organized by the International Association for Word and Music Studies (WMA). The contributions to this volume focus on two centres of interest. The first deals with general issues of literature and music relations from culturalist, historical, reception-aesthetic and cognitive points of view. It covers issues such as conceptual problems in devising transdisciplinary histories of both arts, cultural functions of opera as a means of reflecting postcolonial national identity, the problem of verbalizing musical experience in nineteenth-century aesthetics and of understanding reception processes triggered by musicalized fiction. The second centre of interest deals with a specific genre of vocal music as an obvious area of word and music interaction, namely the song cycle. As a musico-literary genre, the song cycle not only permits explorations of relations between text and music in individual songs but also raises the question if, and to what extent words and/or music contribute to creating a larger unity beyond the limits of single songs. Elucidating both of these issues with stimulating diversity the essays in this section highlight classic nineteenth- and twentieth-century song cycles by Franz Schubert, Robert Schumann, Hugo Wolf, Richard Strauss and Benjamin Britten and also include the discussion of a modern successor of the song cycle, the concept album as part of today s popular culture."
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Intermedial Metatextuality in Schuberts Der Leiermann
Design and Unity in Schumanns Liederkreis Op 39?
A Cycle in Flux
Harry E Seelig
Three Types of Song Cycles
Notes on the Contributors
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aesthetic analogies analysis artistic Australian Bartók Baudelaire Baudelaire's blended space coherence composer compositional concept albums context critical cultural cyclic David Malouf Die schöne Müllerin Die Winterreise discussion Divagations Divan duodrama Eichendorff elements essay Example exploration fictional Fremde Frigyesi fugue function genre German Goethe Goethe's Graceland Hugo Hugo Wolf hurdy-gurdy ibid language Leiermann Lieder Liederkreis literary lyric Mallarmé Malouf McCreless meaning melodic metaphor Modernism modernist morphology motivation Müller music and literature Music Studies musique narrative narrator nature novel opera organic organicism organicist Paris Patrick White piano Pli selon pli poems poet poetic poetry post-colonial Press question reader reference relationship Robert Schumann Schenker Schönberg Schöne Schubert sense song cycle structure suggests Suleika Tannhäuser textual thematic theme Théodore de Banville theory tion tonal translation unifying unity Univ vocal voice Voss Voss's Wagner Werner Wolf Winterreise Wolf's Word and Music writing written
Page 12 - Peasant music, in the strict sense of the word, must be regarded as a natural phenomenon; the forms in which it manifests itself are due to the instinctive transforming power of a community entirely devoid of erudition. It is just as much a natural phenomenon as, for instance, the various manifestations of Nature in fauna and flora.