By Jonathan Dunsby

ISBN-10: 0511216157

ISBN-13: 9780511216152

ISBN-10: 0521836611

ISBN-13: 9780521836616

What makes a classical music a track? masking such contrasting composers as Brahms and Berberian, Schubert and Kurtág, Jonathan Dunsby considers the character of vocality in songs of the 19th and 20th centuries. The essence and scope of poetic and literary which means within the Lied culture is topic to shut scrutiny opposed to the backdrop of "new musicological" considering and music-theoretical orthodoxies. The reader is therefore provided the simplest insights on hand inside of an evidence-based method of musical discourse.

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Extra info for Making Words Sing: Nineteenth- and Twentieth-Century Song

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11 Harmonically, too, this closing passage is extraordinarily strong, and not least because of Brahms’s fine sense of harmonic pace, in a song that has been characterized by sustained harmonic prolongations. To look at the last verse only (that is, the last four lines of text) we can see this acute apposition of the ‘build-up’ through relatively long harmonic steps: Bar : 99 100 101 102 103 104 105 106 107 108 109 110 111 112 In B: I IV II V and a rapid, triumphant assertion of the diatonic scale-steps: Bar : 113 114 115 116 In B: I (iii iv) II (iv vii III vi ii) V 117 I Not that there is anything experimental or even progressive about that – similar examples, from the point of view of musical grammar, can be found throughout music of the preceding century and more.

Culler is also the author of Literary Theory: A Very Short Introduction, Oxford, Oxford University Press, 1997, which includes a splendid, brief consideration of what ‘literature’ is and how it can be understood as meaningful, 17–39. An introduction with no words, with intended words, and untheory 21 psychotheorists of the twentieth century caught and surfed this wave exultantly, in a wonderful hermeneutical funfair where everyone really could win a prize. Just where to locate such meaningfulness, it hardly needs to be said, is anything but self-evident.

An introduction with no words, with intended words, and untheory 21 psychotheorists of the twentieth century caught and surfed this wave exultantly, in a wonderful hermeneutical funfair where everyone really could win a prize. Just where to locate such meaningfulness, it hardly needs to be said, is anything but self-evident. Witness only one corner of the extensive field of studies of Dickinson’s poetry,20 where we find the following brief but highly persuasive critique of John Cody’s psychoanalytical search21 for Dickinson’s ‘meanings’: The reason why Cody’s psychoanalytic terminology all too often marginalizes the trouvailles found in his study seems to derive from two facts: (1) the univocal and technical discourse of psychoanalysis cannot do justice to the multisemantic discourse of art, and (2) the search of the biographer for real-life referents (with life as the primary text) truncates the richness of poetic language that raises personal experience onto a transpersonal and intersubjective level.

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Making Words Sing: Nineteenth- and Twentieth-Century Song by Jonathan Dunsby


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