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Baudelaire in Song - 1880-1930 (Hardcover)
Loot Price: R2,483
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Baudelaire in Song - 1880-1930 (Hardcover)
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Why do we find it hard to explain what happens when words are set
to music? This study looks at the kind of language we use to
describe word/music relations, both in the academic literature and
in manuals for singers or programme notes prepared by professional
musicians. Helen Abbott's critique of word/music relations
interrogates overlaps emerging from a range of academic disciplines
including translation theory, adaptation theory, word/music theory,
as well as critical musicology, metricometrie, and cognitive
neuroscience. It also draws on other resources-whether adhesion
science or financial modelling-to inform a new approach to
analysing song in a model proposed here as the assemblage model.
The assemblage model has two key stages of analysis. The first
stage examines the bonds formed between the multiple layers that
make up a song setting (including metre/prosody, form/structure,
sound repetition, semantics, and live performance options). The
second stage considers the overall outcome of each song in terms of
the intensity or stability of the words and music present in a song
(accretion/dilution). Taking the work of the major
nineteenth-century French poet Charles Baudelaire (1821-67) as its
main impetus, the volume examines how Baudelaire's poetry has
inspired composers of all genres across the globe, from the 1860s
to the present day. The case studies focus on Baudelaire song sets
by European composers between 1880 and 1930, specifically Maurice
Rollinat, Gustave Charpentier, Alexander Gretchaninov, Louis
Vierne, and Alban Berg. Using this corpus, it tests out the
assemblage model to uncover what happens to Baudelaire's poetry
when it is set to music. It factors in the realities of song as a
live performance genre, and reveals which parameters of song emerge
as standard for French text-setting, and where composers diverge in
their approach.
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