UID:
almahu_9948664196702882
Umfang:
1 online resource (234 p.)
Ausgabe:
1st, New ed.
ISBN:
9783653022520
Inhalt:
Addressing a range of music examples and texts, the fifteen essays in this volume explore the interaction between both conceptions of time and space and the intermedial relationship between words and music. This intermedial experimentation may serve to adopt the spatio-temporal attributes of the other medium or to comment on a form’s own mediality. It has much to say about processes of literary and musical composition and reception, the role of tradition and intertextuality, and the medial constellation in which these works situate themselves. The articles here collected testify to the success of the first conference of the Word and Music Association Forum, founded in 2009 to offer graduate students and post-docs a forum for presenting and discussing work in word and music studies.
Anmerkung:
Contents: Mario Dunkel/Emily Petermann/Burkhard Sauerwald: Introduction – Adrian Paterson: Worded or Sung? The Thirteen Teeth of Joyce’s «Pomes Penyeach» – John McGrath: Musical Repetition in Samuel Beckett’s «Ill Seen Ill Said» – Isabel Wagner: Aeolian Harps and Creators of Acoustic Spaces. Gert Jonke’s Self-Reflexive Soundscapes – Emily Petermann: The Concept of Time Implied by the Theme and Variations Form. Novels Based on Bach’s «Goldberg Variations» – Markus Huss: The Soundtrack of Exile. Towards an Intermedial Interpretation of Peter Weiss’s Literary Works – Christin Hoene: Sounding through Time and Space. Music in Postcolonial South-Asian Literature – Sarah Fekadu: Ezra Pound’s Spatial Aesthetics of Music – Beate Schirrmacher: The Use of Musical Intermediality in Creating Spatial Temporality. Günter Grass’s Novel «Ein weites Feld» (1995) – Hannah Ianniello: Violence in Narratives about Jazz Musicians. Performance in Michael Ondaatje’s «Coming Through Slaughter» – Helen Abbott: Poetic Time and Space, or What Fauré Learns from Baudelaire – Burkhard Sauerwald: A Song and Its Checkered History of Reception and Effect. «Der gute Kamerad» by Ludwig Uhland and Friedrich Silcher – D. Kupfer: A Cycle of Songs, Sorrow and Citations. Earl Kim’s «Now and Then» (1981) – Maria Ristani: Carving Time in Rhythm. Samuel Beckett and Minimalist Music – Judith Crispin: The Transcendence of Musical Time. Text and Temporality in Busoni’s «Doktor Faust» and Messiaen’s «Saint François d’Assise» – Tyler Cassidy-Heacock: Poetry Traced in the Air. Electronic Mediation, Musicalized Language, and Embodiment in Leroux’s «Voi(rex)».
Weitere Ausg.:
ISBN 9783631606988
Sprache:
Englisch
DOI:
10.3726/978-3-653-02252-0
URL:
https://www.peterlang.com/view/product/13563?format=EPDF
URL:
Volltext
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