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muziekanalyse --- muziekgeschiedenis --- Music --- anno 1800-1899 --- Germany --- Comparative literature --- Music and literature --- % 9611AR --- Music and literature.
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opera's (genre) --- muziekgeschiedenis --- Music --- Libretto. --- Music and literature.
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Music --- opera's --- dramaturgie --- literatuur --- muziekgeschiedenis --- Literature --- CDL --- 782 --- Music and literature. --- Opera --- Opera. --- Dramaturgy.
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Songs, German --- Music and literature --- History and criticism. --- History --- muziekgeschiedenis --- Music --- liederen --- anno 1800-1899 --- Muziek
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Schumann, Robert --- Heine, Heinrich --- Art and music. --- Music and literature. --- Heine, Heinrich, --- Schumann, Robert,
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"Listening to Iris Murdoch's focus on the sonic, which in literary criticism is often treated like a poor relation to the visual, is most welcome. Through perceptive close readings, Gillian Dooley uses the lens of music, sound and silence to draw out gender, sexuality, Irish politics, domestic conflict and much more in Murdoch's novels. It will delight Murdoch fans but will also be of great interest to those who are attentive to sound studies and the relationship of music to literature." -Hazel Smith, Author of The Contemporary Literature-Music Relationship, Emeritus Professor, Writing and Society Research Centre, Western Sydney University "In this sensitive and insightful analysis of music and Iris Murdoch, Gillian Dooley certainly broadens the field of Murdoch scholarship but also demonstrates the rich and beautiful possibilities when one opens one's eyes, heart, mind and ears to the lyricism, musicality, and silences in Murdoch's work." -Lucy Bolton, author of Contemporary Cinema and the Philosophy of Iris Murdoch (2019) When we think of Iris Murdoch's relationship with art forms, the visual arts come most readily to mind. However, music and other sounds are equally important. Soundscapes - music and other types of sound - contribute to the richly textured atmosphere and moral tenor of Murdoch's novels. This book will help readers to appreciate anew the sensuous nature of Iris Murdoch's prose, and to listen for all kinds of music, sounds and silences in her novels, opening up a new sub-field in Murdoch studies in line with the emerging field of Word and Music Studies. This study is supported by close readings of selected novels exemplifying the subtle variety of ways she deploys music, sounds and silence in her fiction. It also covers Murdoch's knowledge of music and her allusions to music throughout her work, and includes a survey of musical settings of her words by various composers.
Aesthetics --- Music --- Literature --- esthetica --- literatuur --- muziek --- literatuurgeschiedenis --- English fiction --- Music and literature --- History and criticism. --- History
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Music --- opera's --- muziekgeschiedenis --- Tailleferre, Germaine --- Honegger, Arthur --- Milhaud, Darius --- Collaer, Paul --- Music and literature --- Musique et littérature --- Claudel, Paul, --- Milhaud, Darius, --- Honegger, Arthur, --- Collaer, Paul, --- Tailleferre, Germaine, --- Vetch, Louise --- Arrangement (Music) --- Music and literature. --- Musique et littérature
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Words and Notes encourages a new wave of scholarship inspired by the ways writers and musicians of the long nineteenth century themselves approached the relationship between music and words. Contributors to the volume engage in two dialogues: with nineteenth-century conceptions of word-music relations, and with each other. Criss-crossing disciplinary boundaries, the authors of the book's eleven essays address new questions relating to listening, imagining and performing music, the act of critique, and music's links with philosophy and aesthetics. The many points of intersection are elucidated in an editorial introduction and via a reflective afterword. Fiction and poetry, musicography, philosophy, music theory, science and music analysis all feature, as do traditions within English, French and German studies. Wide-ranging material foregrounds musical memory, soundscape and evocation; performer dilemmas over the words in Satie's piano music; the musicality of fictional and non-fictional prose; text-setting and the rights of poet vs. composer; the rich novelistic and critical testimony of audience inattention at the opera; German philosophy's potential contribution to musical listening; and Hoffmann's send-ups of the serious music-lover. Throughout, music - its composition, performance and consumption - emerges as a profoundly physical and social force, even when it is presented as the opposite. PHYLLIS WELIVER is Associate Professor of English, Saint Louis University. KATHARINE ELLIS is Stanley Hugh Badock Professor of Music at the University of Bristol
Music --- liederen --- anno 1800-1899 --- muziekgeschiedenis --- Music and literature --- Music and literature. --- History --- Music appreciation --- History and criticism --- Literature and music --- Literature --- Literature. --- Long Nineteenth Century. --- Music and Words. --- Music. --- Musicians. --- Relationship. --- Words and Notes. --- Writers.
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Symphony --- Vocal music --- History and criticism. --- lyriek --- Muziek en literatuur --- 530 --- Muziekwetenschappelijke essays --- muziekgeschiedenis --- Music --- History and criticism --- Music and literature --- 926 --- Repertoria - catalogi (genre)
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Music --- muziek --- poëzie --- esthetiek --- anno 1200-1299 --- anno 1300-1399 --- Muziek en literatuur --- 500-1400 --- History and criticism --- Poetry [Medieval ] --- Music and literature --- 78.23 --- Verdragen --- Compositie
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