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| Author | : John Burnside |
| Publisher | : Princeton University Press |
| Total Pages | : 528 |
| Release | : 2021-04-06 |
| Genre | : Literary Criticism |
| ISBN | : 0691218862 |
"First published in a slight different form in Great Britain in 2019 by Profile Books Ltd."--Title page verso.
| Author | : Lawrence Kramer |
| Publisher | : |
| Total Pages | : 251 |
| Release | : 1984 |
| Genre | : |
| ISBN | : |
| Author | : Mike Mattison |
| Publisher | : Univ. Press of Mississippi |
| Total Pages | : 176 |
| Release | : 2021-11-01 |
| Genre | : Literary Criticism |
| ISBN | : 1496837290 |
Poetic Song Verse: Blues-Based Popular Music and Poetry invokes and critiques the relationship between blues-based popular music and poetry in the twentieth and twenty-first centuries. The volume is anchored in music from the 1960s, when a concentration of artists transformed modes of popular music from entertainment to art-that-entertains. Musician Mike Mattison and literary historian Ernest Suarez synthesize a wide range of writing about blues and rock—biographies, histories, articles in popular magazines, personal reminiscences, and a selective smattering of academic studies—to examine the development of a relatively new literary genre dubbed by the authors as “poetic song verse.” They argue that poetic song verse was nurtured in the fifties and early sixties by the blues and in Beat coffee houses, and matured in the mid-to-late sixties in the art of Bob Dylan, the Beatles, the Rolling Stones, the Doors, Jimi Hendrix, Joni Mitchell, Leonard Cohen, Gil Scott-Heron, Van Morrison, and others who used voice, instrumentation, arrangement, and production to foreground semantically textured, often allusive, and evocative lyrics that resembled and engaged poetry. Among the questions asked in Poetic Song Verse are: What, exactly, is this new genre? What were its origins? And how has it developed? How do we study and assess it? To answer these questions, Mattison and Suarez engage in an extended discussion of the roots of the relationship between blues-based music and poetry and address how it developed into a distinct literary genre. Unlocking the combination of richly textured lyrics wedded to recorded music reveals a dynamism at the core of poetic song verse that can often go unrealized in what often has been considered merely popular entertainment. This volume balances historical details and analysis of particular songs with accessibility to create a lively, intelligent, and cohesive narrative that provides scholars, teachers, students, music influencers, and devoted fans with an overarching perspective on the poetic power and blues roots of this new literary genre.
| Author | : Elizabeth K. Helsinger |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 2015 |
| Genre | : English poetry |
| ISBN | : 9780813938004 |
In arguing for the crucial importance of song for poets in the long nineteenth century, Elizabeth Helsinger focuses on both the effects of song on lyric forms and the mythopoetics through which poets explored the affinities of poetry with song. Looking in particular at individual poets and poems, Helsinger puts extensive close readings into productive conversation with nineteenth-century German philosophic and British scientific aesthetics. While she considers poets long described as "musical"--Alfred, Lord Tennyson, Gerard Manly Hopkins, Emily Brontë, and Algernon Charles Swinburne--Helsinger also examines the more surprising importance of song for those poets who rethought poetry through the medium of visual art: Dante Gabriel Rossetti, William Morris, and Christina Rossetti. In imitating song's forms and sound textures through lyric's rhythm, rhyme, and repetition, these poets were pursuing song's "thought" in a double sense. They not only asked readers to think of particular kinds of song as musical sound in social performance (ballads, national airs, political songs, plainchant) but also invited readers to think like song: to listen to the sounds of a poem as it moves minds in a different way from philosophy or science. By attending to the formal practices of these poets, the music to which the poets were listening, and the stories and myths out of which each forged a poetics that aspired to the condition of music, Helsinger suggests new ways to think about the nature and form of the lyric in the nineteenth century.
| Author | : Tom McLeish |
| Publisher | : Oxford University Press |
| Total Pages | : 400 |
| Release | : 2019-02-21 |
| Genre | : Science |
| ISBN | : 0192518917 |
What human qualities are needed to make scientific discoveries, and which to make great art? Many would point to 'imagination' and 'creativity' in the second case but not the first. This book challenges the assumption that doing science is in any sense less creative than art, music or fictional writing and poetry, and treads a historical and contemporary path through common territories of the creative process. The methodological process called the 'scientific method' tells us how to test ideas when we have had them, but not how to arrive at hypotheses in the first place. Hearing the stories that scientists and artists tell about their projects reveals commonalities: the desire for a goal, the experience of frustration and failure, the incubation of the problem, moments of sudden insight, and the experience of the beautiful or sublime. Selected themes weave the practice of science and art together: visual thinking and metaphor, the transcendence of music and mathematics, the contemporary rise of the English novel and experimental science, and the role of aesthetics and desire in the creative process. Artists and scientists make salient comparisons: Defoe and Boyle; Emmerson and Humboldt, Monet and Einstein, Schumann and Hadamard. The book draws on medieval philosophy at many points as the product of the last age that spent time in inner contemplation of the mystery of how something is mentally brought out from nothing. Taking the phenomenon of the rainbow as an example, the principles of creativity within constraint point to the scientific imagination as a parallel of poetry.
| Author | : Deborah Stein |
| Publisher | : Oxford University Press |
| Total Pages | : 432 |
| Release | : 2010-06-10 |
| Genre | : Music |
| ISBN | : 0199890161 |
Focusing on the music of the great song composers--Schubert, Schumann, Brahms, Wolf, and Strauss--Poetry Into Song offers a systematic introduction to the performance and analysis of Lieder . Part I, "The Language of Poetry," provides chapters on the themes and imagery of German Romanticism and the methods of analysis for German Romantic poetry. Part II, "The Language of the Performer," deals with issues of concern to performers: texture, temporality, articulation, and interpretation of notation and unusual rhythm accents and stresses. Part III provides clearly defined analytical procedures for each of four main chapters on harmony and tonality, melody and motive, rhythm and meter, and form. The concluding chapter compares different settings of the same text, and the volume ends with several appendices that offer text translations, over 40 pages of less accessible song scores, a glossary of technical terms, and a substantial bibliography. Directed toward students in both voice and theory, and toward all singers, the authors establish a framework for the analysis of song based on a process of performing, listening, and analyzing, designed to give the reader a new understanding of the reciprocal interaction between performance and analysis. Emphasizing the masterworks, the book features numerous poetic texts, as well as a core repertory of songs. Examples throughout the text demonstrate points, while end of chapter questions reinforce concepts and provide opportunities for directed analysis. While there are a variety of books on Lieder and on German Romantic poetry, none combines performance, musical analysis, textual analysis, and the interrelation between poetry and music in the systematic, thorough way of Poetry Into Song.
| Author | : Jim Daniels |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 2020 |
| Genre | : Music |
| ISBN | : 9781611863369 |
While there have been countless books written about Detroit, none have captured its incredible musical history like this one. Detroit artists have forged the paths in many music genres, producing waves of creative energy that continue to reverberate across the country and around the world. This anthology both documents and celebrates this part of Detroit's history, capturing the emotions that the music inspired in its creators and in its listeners. The range of contributors speaks to the global impact of Detroit's music scene--Grammy winners, Pulitzer Prize winners, Rock and Roll Hall of Fame inductees, and poet laureates all come together in this rich and varied anthology.
| Author | : Professor Gordon E Thompson |
| Publisher | : Ashgate Publishing, Ltd. |
| Total Pages | : 362 |
| Release | : 2014-05-28 |
| Genre | : Literary Criticism |
| ISBN | : 1472430603 |
Black Music, Black Poetry offers readers a fuller appreciation of the diversity of approaches to reading black American poetry. It does so by linking a diverse body of poetry to musical genres that range from the spirituals to contemporary jazz. The poetry of familiar figures such as Paul Laurence Dunbar and Langston Hughes and less well-known poets like Harryette Mullen or the lyricist to Pharaoh Sanders, Amos Leon Thomas, is scrutinized in relation to a musical tradition contemporaneous with the lifetime of each poet. Black music is considered the strongest representation of black American communal consciousness; and black poetry, by drawing upon such a musical legacy, lays claim to a powerful and enduring black aesthetic. The contributors to this volume take on issues of black cultural authenticity, of musical imitation, and of poetic performance as displayed in the work of Paul Laurence Dunbar, Langston Hughes, Sterling Brown, Amiri Baraka, Michael Harper, Nathaniel Mackey, Jayne Cortez, Harryette Mullen, and Amos Leon Thomas. Taken together, these essays offer a rich examination of the breath of black poetry and the ties it has to the rhythms and forms of black music and the influence of black music on black poetic practice.
| Author | : William Blake |
| Publisher | : |
| Total Pages | : 35 |
| Release | : 1789 |
| Genre | : Illumination of books and manuscripts |
| ISBN | : |
| Author | : Linda Nicole Blair |
| Publisher | : Rowman & Littlefield |
| Total Pages | : 297 |
| Release | : 2021-06-10 |
| Genre | : Music |
| ISBN | : 1793621276 |
From the poems of Anne Bradstreet, Phillis Wheatley, and Emily Dickinson emerges what the author calls FemPoetiks, a discourse of female empowerment. Situating the work of these poets in their historical eras, Linda Nicole Blair considers a sampling of their poems side-by-side with a number of song lyrics by singer-songwriters Brandi Carlile, Rhiannon Giddens, and Lucinda Williams, having found commonalities of theme, motif, and language between them. Blair argues that while FemPoetiks has continued to develop in various ways in American poetry by women, the fact that this discourse finds expression in songs by Americana female artists indicates a matrilineal line of influence from the 1630s to today. In order to show the omnipresence of this powerful feminist discourse, she closes this book with eleven interviews she conducted with female singer-songwriters from around the United States. The phenomenon of FemPoetiks is not limited to the arts but extends into all areas of American life, from the domestic to the political. FemPoetiks is a woman’s truth.
