Literature and MusicMichael J. Meyer Rodopi, 2002 - 238 páginas This collection of essays centers on musical elements that authors have employed in their work, thus joining heard sounds to a visual perception of their stories. The spectrum of authors represented is a wide one, from Pound to Durrell, from Steinbeck to Cather, from Beckett to Gaines, but even more unusual is the variety of musical type represented. Classical music (the quartet, the fugue, the symphony), Jazz (the jazz riff and jazz improv) and the spiritual all appear along with folk song and so-called random "noise." Such diversity suggests that there are few limits when readers consider how great writers utilize musical styles and techniques. Indeed, each author seems to realize that it is not the type of music that s/he chooses to employ that is important. Rather, it is the realization that such musical elements as harmony, dissonance, tonal repetition and beat are just as important in prose composition as they are in poetry and song. The essayists have selected some works that may be considered obscure and some that are modern classics. Each one, however, has captured one of the varied ways in which words and music complement and enhance each other. |
Contenido
| 5 | |
| 23 | |
| 47 | |
Samuel Becketts Ping and Serialist Music Technique | 65 |
Reine Dugas Bouton | 77 |
Music and Gender in Howards End Sinister | 89 |
The Literary Spiritual | 117 |
Lawrence Durrells Alexandria Quartet | 135 |
Music as a Locus of Social Conflict and Social Connection | 145 |
Musical Scores | 157 |
Steinbecks Implementation and Adaptation | 183 |
Gayl Jones Corregidora | 203 |
Otras ediciones - Ver todas
Términos y frases comunes
aesthetic African American artistic audience Balthazar Beckett becomes Beethoven blues call-and-response Cane Canto LXXV Cather characters Citron Clea composer composition concert Corregidora criticism cultural desire discourse dissonance Durrell emotional experience Ezra Pound feels female fiction folksongs foremothers Francesco da Milano Gayl Jones Gender German Grant Wiggins Helen Howards End identity Janequin jazz Jefferson Jews Justine Kabnis Karintha Kino Kino's language Lark Lesson Before Dying listening literary literature Magic Mountain male Mann Mann's melody memory movement Münch's musician Mutt narrative narrator notes novel Olga Rudge opera Pearl performance Ping Pisan Cantos play poetic Powerhouse Powerhouse's quartet reader repetition rhythm role score seems sexual sing singer social sonata form song sound spiritual Steinbeck story structure Süsskind Süßkind von Trimberg Thea thematic theme tion Toomer Torberg traditional Trimberg Ursa Ursa's voice Wagner Welty Willa Willa Cather woman women words World Cafe York
Pasajes populares
Página 5 - There is sweet music here that softer falls Than petals from blown roses on the grass, Or night-dews on still waters between walls Of shadowy granite, in a gleaming pass; Music that gentlier on the spirit lies, Than tired eyelids upon tired eyes; Music that brings sweet sleep down from the blissful skies. Here are cool mosses deep, And thro...
Página 119 - Oh, sometimes it causes me to tremble, tremble, tremble, Were you there when they crucified my Lord?
Página 91 - It will be generally admitted that Beethoven's Fifth Symphony is the most sublime noise that has ever penetrated into the ear of man.
Página 7 - Dust as we are, the immortal spirit grows Like harmony in music; there is a dark Inscrutable workmanship that reconciles Discordant elements, makes them cling together In one society. How strange that all The terrors, pains, and early miseries, Regrets, vexations, lassitudes interfused Within my mind, should e'er have borne a part, And that a needful part, in making up The calm existence that is mine when I Am worthy of myself!
Página 102 - One healthy human impulse would dispel them? Men like the Wilcoxes, or President Roosevelt, would say yes. Beethoven knew better. The goblins really had been there. They might return — and they did. It was as if the splendour of life might boil over and waste to steam and froth. In its dissolution one heard the terrible, ominous note, and a goblin, with increased malignity, walked quietly over the universe from end to end. Panic and emptiness! Panic and emptiness! Even the flaming ramparts of the...
Página 79 - Then a light slides under his eyelids, and he says, "92!" or some combination of figures — never a name. Before a number the band is all frantic, misbehaving, pushing, like children in a schoolroom, and he is the teacher getting silence. His hands over the keys, he says sternly, "You-all ready? You-all ready to do some serious walking?
Página 50 - I must have done something — what, I don't know, in the confusion of my emotion. She sprang up. Rushed some distance from me. Fell to her knees, and began swaying, swaying. Her body was tortured with something it could not let out.
Página 91 - ... shipwrecks in the music's flood; or like Margaret, who can only see the music; or like Tibby, who is profoundly versed in counterpoint, and holds the full score open on his knee; or like their cousin, Fraulein Mosebach, who remembers all the time that Beethoven is "echt Deutsch"; or like Fraulein...
Página 146 - The very same thing that makes the ideological sign vital and mutable is also, however, that which makes it a refracting and distorting medium. The ruling class strives to impart a supraclass, eternal character to the ideological sign, to extinguish or drive inward the struggle between social value judgments which occurs in it, to make the sign uniaccentual.
Página 102 - Beethoven chose to make all right in the end. He built the ramparts up. He blew with his mouth for the second time, and again the goblins were scattered. He brought back the gusts of splendour, the heroism, the youth, the magnificence of life and of death, and, amid vast roarings of a superhuman joy, he led his Fifth Symphony to its conclusion. But the goblins were there. They could return. He had said so bravely, and that is why one can trust Beethoven when he says other things.