Music and Literature II: Vocal Chamber Music

This article positions Pablo Neruda's poetry collection Residence on Earth I (written between 1925–1931 and published in 1933) as a ‘text in transit’ that allows us to trace the development of transnational modernist networks through the text's protracted physical journey from British colonial Ceylon (now Sri Lanka) to Madrid, and from José Ortega y Gasset's Revista de Occidente (The Western Review) to T. S. Eliot's The Criterion. By mapping the text's diasporic movement, I seek to reinterpret its complex composition process as part of an anti-imperialist commitment that proposes a form of aesthetic solidarity with artistic modernism in Ceylon, on the one hand, and as a vehicle through which to interrogate the reception and categorisation of Latin American writers and their cultural institutions in a British periodical such as The Criterion, on the other. I conclude with an examination of Neruda's idiosyncratic Spanish translation of Joyce's Chamber Music, which was published in the Buenos Aires little magazine Poesía in 1933, positing that this translation exercise takes to further lengths his decolonising views by giving new momentum to the long-standing question of Hiberno-Latin American relations.

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The Doctor Faustus Dossier

10.1525/california/9780520296824.001.0001 ◽

2018 ◽

Author(s):

Adrian Daub

Keyword(s):

Twentieth Century ◽

Los Angeles ◽

Primary Source ◽

Music And Literature ◽

Twentieth Century Music ◽

Private And Public ◽

Doctor Faustus ◽

Public Lives ◽

Nazi Era ◽

The Impact

Arnold Schoenberg and Thomas Mann, two towering figures of twentieth-century music and literature, both found refuge in the German-exile community in Los Angeles during the Nazi era. This complete edition of their correspondence provides a glimpse inside their private and public lives and culminates in the famous dispute over Mann's novel Doctor Faustus. In the thick of the controversy was Theodor Adorno, then a budding philosopher, whose contribution to the Faustus affair would make him an enemy of both families. Gathered here for the first time in English, the letters are complemented by diary entries, related articles, and other primary source materials, as well as an introduction that contextualizes the impact that these two great artists had on twentieth-century thought and culture.

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Early Chamber Music . Ruth Halle Rowen .

Journal of the American Musicological Society ◽

10.1525/jams.1950.3.1.03a00100 ◽

1950 ◽

Vol 3 (1) ◽

pp. 52-56

Author(s):

David D. Boyden

Keyword(s):

Chamber Music

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Haydn, meter, and listening in transition

Studia Musicologica ◽

10.1556/smus.51.2010.1-2.10 ◽

2010 ◽

Vol 51 (1-2) ◽

pp. 141-152 ◽

Cited By ~ 1

Author(s):

Roger Grant

Keyword(s):

Eighteenth Century ◽

Aesthetic Experience ◽

Recent Trend ◽

Music And Literature ◽

Late Works ◽

The Way

In recent years, music theorists and analysts have devoted a great deal of attention to the phenomenon of hypermeter, drawing some of their most representative examples from the late works of Haydn. Although this recent trend in analysis has shed much light on Haydn’s music, it has left questions of history distinct from the mode of listening it engages. This article argues that the way we understand conceptualizations of listening and aesthetic experience can greatly inform the way that we understand hypermeter and the question of style in history. Drawing on eighteenth-century theories of music and literature, it recontextualizes Haydn’s hypermetric style with respect to a larger world of aesthetic experience.

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Korngold and His World

10.23943/princeton/9780691198293.001.0001 ◽

2019 ◽

Keyword(s):

Chamber Music ◽

Musical Theater ◽

Musical Language ◽

American Film ◽

Popular Song ◽

Film Scores ◽

Hollywood Film ◽

English Translations ◽

Erich Wolfgang Korngold ◽

American Popular Song

Erich Wolfgang Korngold (1897–1957) was the last compositional prodigy to emerge from the Austro-German tradition of Mozart and Mendelssohn. He was lauded in his youth by everyone from Mahler to Puccini and his auspicious career in the early 1900s spanned chamber music, opera, and musical theater. Today, he is best known for his Hollywood film scores, composed between 1935 and 1947. From his prewar operas in Vienna to his pathbreaking contributions to American film, this book provides a substantial reassessment of Korngold's life and accomplishments. Korngold struggled to reconcile the musical language of his Viennese upbringing with American popular song and cinema, and was forced to adapt to a new life after wartime emigration to Hollywood. The book examines Korngold's operas and film scores, the critical reception of his music, and his place in the milieus of both the Old and New Worlds. It also features numerous historical documents—many previously unpublished and in first-ever English translations—including essays by the composer as well as memoirs by his wife, Luzi Korngold, and his father, the renowned music critic Julius Korngold.

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36. Practicing medicine and music II: Ophthalmology and music

Clinical & Investigative Medicine ◽

10.25011/cim.v30i4.2796 ◽

2007 ◽

Vol 30 (4) ◽

pp. 46

Author(s):

L. P. Hwi ◽

J. W. Ting

Keyword(s):

Chamber Music ◽

18Th Century ◽

Johann Sebastian Bach ◽

Active Member ◽

Active Researcher ◽

Silver Medal ◽

Medical Career ◽

The One ◽

The University ◽

Over 40 Years

Cecil Cameron Ewing (1925-2006) was a lecturer and head of ophthalmology at the University of Saskatchewan. Throughout his Canadian career, he was an active researcher who published several articles on retinoschisis and was the editor of the Canadian Journal of Ophthalmology. For his contributions to Canadian ophthalmology, the Canadian Ophthalmological Society awarded Ewing a silver medal. Throughout his celebrated medical career, Ewing maintained his passion for music. His love for music led him to be an active member in choir, orchestra, opera and chamber music in which he sang and played the piano, violin and viola. He was also the director of the American Liszt Society and a member for over 40 years. The connection between music and ophthalmology exists as early as the 18th Century. John Taylor (1703-1772) was an English surgeon who specialized in eye diseases. On the one hand, Taylor was a scientist who contributed to ophthalmology by publishing books on ocular physiology and diseases, and by advancing theories of strabismus. On the other hand, Taylor was a charlatan who traveled throughout Europe and blinded many patients with his surgeries. Taylor’s connection to music was through his surgeries on two of the most famous Baroque composers: Johann Sebastian Bach (1685-1750) and George Frederick Handel (1685-1759). Bach had a painful eye disorder and after two surgeries by Taylor, Bach was blind. Handel had poor or absent vision prior to Taylor’s surgery, and his vision did not improve after surgery. The connection between ophthalmology and music spans over three centuries from the surgeries of Taylor to the musical passion of Ewing. Ewing E. Cecil Cameron Ewing. BMJ 2006; 332(7552):1278. Jackson DM. Bach, Handel, and the Chevalier Taylor. Med Hist 1968; 12(4):385-93. Zegers RH. The Eyes of Johann Sebastian Bach. Arch Ophthalmol 2005; 123(10):1427-30.

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“Little Trio” for clarinet, bassoon and piano

Musical art in the educological discourse ◽

10.28925/2518-766x.2018.3.7579 ◽

2018 ◽

pp. 75-79

Author(s):

N. Yakovchuk

Keyword(s):

Chamber Music ◽

Instrumental Music ◽

Instrumental Ensemble ◽

Interesting Phenomenon ◽

Theoretical Understanding ◽

Classical Traditions ◽

And Performance ◽

Instrumental Ensembles ◽

Written Compositions ◽

First Time

The chamber-instrumental ensemble music in the Ukrainian musical culture of the last third of the 20th and the beginning of the 21st centuries occupies one of the leading places and is characterized by powerful processes in its development. Such circumstances caused the Ukrainian musicologist interests to the problems of chamber-instrumental music creativity and performance. There are appeared researches in the field of theory, history and performance problems covering the most important questions like chamber music definitions, specific genre issues, the growing function of piano in the Ukrainian chamber music, the increasing questions of technique and timbre importance of modern instrumental ensembles. In the significant multifaceted creative work of contemporary Ukrainian composer, Oleksandr Yakovchuk, the genre of chamber instrumental ensemble music represents a complex and interesting phenomenon. Original and skillfully written compositions reflect artistic world of the composer of postmodern time and gained recognition in music life of Ukraine and beyond. These works are highly appreciated in performing practice of our days. The purpose of the article is to analyze the work — “Little Trio” for clarinet, bassoon and piano (1980), which has the signs of neoclassical tendency in the composer’s style. The methodological basis of this research is a comprehensive approach in theoretical understanding of the subject of research (the methods of textology, source study as well as the method of interviewing the author were used). The scientific novelty of this article is in the priority of its main provisions, since the “Little Trio” entered the scientific circulation for the first time. The three-movement “Little Trio” (1980) is notable for the light feeling of timbre colours and the shape clarity. The Ist movement — Allegretto giocoso — is written in a sonata form following all classical traditions. Quite interesting are the two monologues of clarinet and bassoon from the IInd movement, they represent very modern line in Ukrainian chamber music — the possibility of sincere confession which comes through the solo cadence. In the IIIrd movement, the composer took advantage from the folk Ukrainian dance “hopak” using the rhythm of it and creating dance character of the Final.

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The Primacy of Beauty in Music, Visual Arts and Literature: Not Just a Replication Study in the Greek Language Exploring the Effects of Verbal Fluency, Age and Gender

Psychological Reports ◽

10.1177/00332941211026836 ◽

2021 ◽

pp. 003329412110268

Author(s):

Vaitsa Giannouli ◽

Juliana Yordanova ◽

Vasil Kolev

Keyword(s):

Visual Arts ◽

Verbal Memory ◽

Cognitive Factors ◽

Semantic Field ◽

Older Individuals ◽

Greek Language ◽

Age And Gender ◽

Music And Literature ◽

Young Females ◽

And Gender

Research on aesthetic descriptors of art in different languages is scarce. The aim of the present study was to elucidate the conceptual structure of aesthetic experiences of three forms of art (music, visual arts and literature) in the Greek language, which has not been explored so far. It was further aimed to study if biological and cognitive factors such as age and gender might produce differences in art appreciation. A total of 467 younger and older individuals from Greece were asked to generate verbal descriptors (adjectives) in free word-listing conditions in order to collect terms reflecting the aesthetics-related semantic field of art. The capacity of verbal memory was controlled by using a battery of neuropsychological tests. Analysis of generated adjectives’ frequency and salience revealed that ‘beautiful’ was the most prominent descriptor that was selected with a distinctive primacy for all three forms of arts. The primacy of ‘beautiful’ was significantly more pronounced for visual arts relative to music and literature. Although the aging-related decline of verbal capacity was similar for males and females, the primacy of ‘beautiful’ depended on age and gender by being more emphasized for young females than males, and for old males than females. Analysis of secondary descriptors and pairs of adjectives revealed that affective and hedonic experiences are essentially fixed in the semantic field of art reflection. It is concluded that although the concept of the aesthetics seems to be diversified and rich, a clear primacy of beauty is found for the Greek cultural environment and across different forms of art. The results also highlight the presence of complex influences of biological and cognitive factors on aesthetic art experiences.

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