"Invisible, as Music - But positive, as Sound -" : The Intertextual Continuum of Poetry, Music, and Song in Aaron Copland's Twelve Poems of Emily Dickinson, Benjamin Britten's Songs and Proverbs of William Blake, and Benjamin T. Martin/Alexandre Tchaykov's I See and Unsee: Five Memory Songs
"Invisible, as Music - But positive, as Sound -" : The Intertextual Continuum of Poetry, Music, and Song in Aaron Copland's Twelve Poems of Emily Dickinson, Benjamin Britten's Songs and Proverbs of William Blake, and Benjamin T. Martin/Alexandre Tchaykov's I See and Unsee: Five Memory Songs
상세정보
- 자료유형
- 학위논문 서양
- 최종처리일시
- 20250211151945
- ISBN
- 9798382798585
- DDC
- 780
- 서명/저자
- Invisible, as Music - But positive, as Sound - : The Intertextual Continuum of Poetry, Music, and Song in Aaron Coplands Twelve Poems of Emily Dickinson, Benjamin Brittens Songs and Proverbs of William Blake, and Benjamin T. Martin/Alexandre Tchaykovs I See and Unsee: Five Memory Songs
- 발행사항
- [Sl] : University of California, Los Angeles, 2024
- 발행사항
- Ann Arbor : ProQuest Dissertations & Theses, 2024
- 형태사항
- 122 p
- 주기사항
- Source: Dissertations Abstracts International, Volume: 85-12, Section: A.
- 주기사항
- Advisor: Johnson, Jenny O.;Kaplan, David.
- 학위논문주기
- Thesis (D.M.A.)--University of California, Los Angeles, 2024.
- 초록/해제
- 요약This study introduces a critical and creative discourse about the interdisciplinary connections between lyric poetry and music through the lens of three poets and three composers whose distinct art forms come together in three unique collections of art songs. Beginning with an analysis of selected works by poets Emily Dickinson and William Blake, I show how an attention to the semantic, sonic, and visual details of their poems reveals an underlying musical poetics that locates meaning in temporal perception and performance. Dickinson's poems feature fascinating metric modulations, phonetic patterning, and motivic development that put linguistic meaning into musical motion, while Blake's Songs of Innocence and of Experience posits the concept of words set to an invisible music, navigating a central thematic duality that extends to the aural patterns of closely related pairs of poems. Visually, Dickinson's manuscripts reveal experimentation with spatial relationships between words, while Blake's intricately crafted illuminated prints embed his poems in contrasting illustrative worlds, reflecting their mutual understanding of the poem as a transitional process rather than merely a static object. Following this literary analysis, I turn to selections from two 20th-century song cycles based on these poets' works: Aaron Copland's Twelve Poems of Emily Dickinson and Benjamin Britten's Songs and Proverbs of William Blake. Examining how the composers have read the poets and placed their words within the musical syntax of counterpoint, harmony, rhythm, and texture introduces the idea of a song as a realization and extension of a poem's musicality. Furthermore, the form of each cycle embraces a "lyric" perspective that prioritizes the perceptual details of each poem's language and unsettles the reading of a definite, overarching narrative throughline. Finally, I outline my recent collaborative endeavor with composer Benjamin T. Martin on a new song cycle based on some of my own poetry - I See and Unsee: Five Memory Songs - by contextualizing the interactive genesis and formal shape of the work. Ultimately, attention to the multivalent conversation between these artistic works and domains yields a more dynamic and ecological understanding of the creative process as an evolving, intertextual continuum.
- 일반주제명
- Music
- 일반주제명
- English literature
- 일반주제명
- Aesthetics
- 일반주제명
- Musical composition
- 키워드
- Copland, Aaron
- 키워드
- Art song
- 키워드
- Dickinson, Emily
- 키워드
- Lyric
- 키워드
- Blake, William
- 기타저자
- University of California, Los Angeles Music 0579
- 기본자료저록
- Dissertations Abstracts International. 85-12A.
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
008250123s2024 us c eng d■001000017162210
■00520250211151945
■006m o d
■007cr#unu||||||||
■020 ▼a9798382798585
■035 ▼a(MiAaPQ)AAI31327722
■040 ▼aMiAaPQ▼cMiAaPQ
■0820 ▼a780
■1001 ▼aTchaykov, Alexandre.
■24510▼a"Invisible, as Music - But positive, as Sound -" : The Intertextual Continuum of Poetry, Music, and Song in Aaron Copland's Twelve Poems of Emily Dickinson, Benjamin Britten's Songs and Proverbs of William Blake, and Benjamin T. Martin/Alexandre Tchaykov's I See and Unsee: Five Memory Songs
■260 ▼a[Sl]▼bUniversity of California, Los Angeles▼c2024
■260 1▼aAnn Arbor▼bProQuest Dissertations & Theses▼c2024
■300 ▼a122 p
■500 ▼aSource: Dissertations Abstracts International, Volume: 85-12, Section: A.
■500 ▼aAdvisor: Johnson, Jenny O.;Kaplan, David.
■5021 ▼aThesis (D.M.A.)--University of California, Los Angeles, 2024.
■520 ▼aThis study introduces a critical and creative discourse about the interdisciplinary connections between lyric poetry and music through the lens of three poets and three composers whose distinct art forms come together in three unique collections of art songs. Beginning with an analysis of selected works by poets Emily Dickinson and William Blake, I show how an attention to the semantic, sonic, and visual details of their poems reveals an underlying musical poetics that locates meaning in temporal perception and performance. Dickinson's poems feature fascinating metric modulations, phonetic patterning, and motivic development that put linguistic meaning into musical motion, while Blake's Songs of Innocence and of Experience posits the concept of words set to an invisible music, navigating a central thematic duality that extends to the aural patterns of closely related pairs of poems. Visually, Dickinson's manuscripts reveal experimentation with spatial relationships between words, while Blake's intricately crafted illuminated prints embed his poems in contrasting illustrative worlds, reflecting their mutual understanding of the poem as a transitional process rather than merely a static object. Following this literary analysis, I turn to selections from two 20th-century song cycles based on these poets' works: Aaron Copland's Twelve Poems of Emily Dickinson and Benjamin Britten's Songs and Proverbs of William Blake. Examining how the composers have read the poets and placed their words within the musical syntax of counterpoint, harmony, rhythm, and texture introduces the idea of a song as a realization and extension of a poem's musicality. Furthermore, the form of each cycle embraces a "lyric" perspective that prioritizes the perceptual details of each poem's language and unsettles the reading of a definite, overarching narrative throughline. Finally, I outline my recent collaborative endeavor with composer Benjamin T. Martin on a new song cycle based on some of my own poetry - I See and Unsee: Five Memory Songs - by contextualizing the interactive genesis and formal shape of the work. Ultimately, attention to the multivalent conversation between these artistic works and domains yields a more dynamic and ecological understanding of the creative process as an evolving, intertextual continuum.
■590 ▼aSchool code: 0031.
■650 4▼aMusic
■650 4▼aEnglish literature
■650 4▼aAesthetics
■650 4▼aBritish & Irish literature
■650 4▼aMusical composition
■653 ▼aCopland, Aaron
■653 ▼aArt song
■653 ▼aBritten, Benjamin
■653 ▼aDickinson, Emily
■653 ▼aLyric
■653 ▼aBlake, William
■690 ▼a0413
■690 ▼a0593
■690 ▼a0650
■690 ▼a0214
■71020▼aUniversity of California, Los Angeles▼bMusic 0579.
■7730 ▼tDissertations Abstracts International▼g85-12A.
■790 ▼a0031
■791 ▼aD.M.A.
■792 ▼a2024
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17162210▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
