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More than 90 composers are discussed in detail with biographies, examples of the song literature, and comprehensive listings of stage works, books and recordings, compositions in non-vocal genres, and vocal repertoire.
Why do we find it hard to explain what happens when words are set to music? This study looks at the kind of language we use to describe word/music relations, both in the academic literature and in manuals for singers or programme notes prepared by professional musicians. Helen Abbott's critique of word/music relations interrogates overlaps emerging from a range of academic disciplines including translation theory, adaptation theory, word/music theory, as well as critical musicology, métricométrie, and cognitive neuroscience. It also draws on other resources-whether adhesion science or financial modelling-to inform a new approach to analysing song in a model proposed here as the assemblage model. The assemblage model has two key stages of analysis. The first stage examines the bonds formed between the multiple layers that make up a song setting (including metre/prosody, form/structure, sound repetition, semantics, and live performance options). The second stage considers the overall outcome of each song in terms of the intensity or stability of the words and music present in a song (accretion/dilution). 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.
Volume contains: (Kaufman v. Fox) (Kaufman v. Fox) (Kaufman v. Fox) (Kaufman v. Fox) (Kaufman v. Zurich General Accident) (Kaufman v. Zurich General Accident) (Kaufman v. Zurich General Accident) (Kaufman v. Zurich General Accident) (Kranc v. Cleja) (Kranc v. Cleja) (Kranc v. Cleja) (Kye v. Murray) (Kye v. Murray) (Kye v. Murray) (Kye v. Murray) (Kye v. Murray) (Kye v. Murray) (Kye v. Murray) (Langfelder v. Universal Laboratories, Inc.) (Langfelder v. Universal Laboratories, Inc.) (Langfelder v. Universal Laboratories, Inc.) (Langfelder v. Universal Laboratories, Inc.) (Lapkin v. Equitable Life Assurance Society U.S.) (Lapkin v. Equitable Life Assurance Society U.S.) (Lapkin v. Equitable Life Assurance Society U.S.) (Lapkin v. Equitable Life Assurance Society U.S.)
"Revised and updated, Themes in the History of Japanese Garden Art presents new interpretations of the evolution of Japanese garden art. Its depth and much-needed emphasis on a practical context for garden creation will appeal to art and literary historians as well as scholars, students, and appreciators of garden and landscape art, Asian and Western."--BOOK JACKET.
History was written nearly thirty years after Elsa Morante and Alberto Moravia spent a year in hiding among remote farming villages in the mountains south of Rome. There she witnessed the full impact of the war and first formed the ambition to write an account of what history - the great political events driven by men of power, wealth, and ambition - does when it reaches the realm of ordinary people struggling for life and bread. The central character in this powerful and unforgiving novel is Ida Mancuso, a schoolteacher whose husband has died and whose feckless teenage son treats the war as his playground. A German soldier on his way to North Africa rapes her, falls in love with her, and leaves her pregnant with a boy whose survival becomes Ida's passion. Around these two other characters come and go, each caught up by the war which is like a river in flood. We catch glimpses of bombing raids, street crimes, a cattle car from which human cries emerge, an Italian soldier succumbing to frostbite on the Russian front, the dumb endurance of peasants who have lived their whole lives with nothing and now must get by with less than nothing.

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