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Sung Poetry in the Oral Tradition of the Gulf Region and the Arabian Peninsula
Oral Tradition, 4/1-2 (1989): 174-88 Sung Poetry in the Oral Tradition of the Gulf Region and the Arabian Peninsula Simon Jargy Historical Background As far back as we can go in the past history of the Arabs and Arabia, we fi nd poetry present as a huge memorial to their real and imaginary heroic exploits, as a witness to their way of life and feelings, and most of all as an expression of the deepest roots of their soul. Being essentially oral in its origins and developments, this poetry, with its rhythms, intonations, accents, and long or short syllables fi tted in quite naturally with music. In the old classical Arabic terminology, poetry (Shicr) identifi es with song (Nashīd): reciting it is synonymous with singing it (Anshada al-Shicr). This bond between Shicr (poetry) and Inshād (chant or recitative) still has the same meaning in the spoken Arabic of the Peninsula and the Gulf region where Nishīda (song) is synonymous with Giṣīda (poem). In pre-Islamic Arabia, Inshād likely had a dual function: religious and social. Both stem from the rhythmical syllables of the Arabic language (rhymed prose: Sajc, and metrical poetry: Shicr), as well as from rhythmical movements of camels. Coming from ancient times, this is the Ḥidā’ (literally “stimulating the camel’s step”) that the Bedouin sings following the steps of his camel and for his own entertainment. It has survived in the actual form we call “recitative” or “cantilena,” as the common Ḥadwā still designates, in the spoken Bedouin dialect of the Gulf, the folk songs of both the desert and the sea. -
In Norwegian Stev, When Sung Jacqueline Pattison Ekgren J.P
The Two-pulse “Dipod” in Norwegian Stev, When Sung Jacqueline Pattison Ekgren J.P. Ekgren Musikkinstitutt, Norway Introduction Norway has a wealth of traditional folk songs and a reciting-singing style called kveding that appears to go back a number of centuries, perhaps even a millennium. The reciting-singing style as found in the southern part of Norway in Telemark and Setesdal has posed a problem of rhythm so irregular as to be considered an inexplicable, unsystematic “free rhythm”. However, my research based on sung performance documented by film shows that typical of the singing style is a systematic two-pulse rhythm (with room for)(that encourages) considerable inherent flexibility. This rhythm is especially salient in the one-stanza form called stev, of which there is a “newer” type, nystev and an “older” type, gamlestev (“stev” is both singular and plural form). Unraveling the riddle of this rhythm can further our understanding of the Phenomenon of Singing and the Power of Song, Although I am a singer and musicologist, I find that the rhythmic musical idiosyncrasies of stev can be solved only by delving into intensive study of the poetry of stev: that is, the poetry as performed, sung. With the word “temper”, you have the letters of four core elements that are integrated in the approach and method of this paper: TE-M-PER for TExt, Music/Melody, PERformance, and “R” also for “rhythm”. I maintain that the text becomes “tempered” by the music and performance to such a degree that the music and performance must be considered an integral part of stev poetry. -
Oral Poetry and Performance
Dickinson College Dickinson Scholar Faculty and Staff Publications By Year Faculty and Staff Publications 2015 Canterino and Improvvisatore: Oral Poetry and Performance Blake McDowell Wilson Dickinson College Follow this and additional works at: https://scholar.dickinson.edu/faculty_publications Part of the Music Commons Recommended Citation Wilson, Blake. "Canterino and Improvvisatore: Oral Poetry and Performance." In The Cambridge History of Fifteenth-Century Music, edited by Anna Maria Busse Berger and Jesse Rodin, 292-310. Cambridge, UK: Cambridge University Press, 2015. This article is brought to you for free and open access by Dickinson Scholar. It has been accepted for inclusion by an authorized administrator. For more information, please contact [email protected]. 16 . Canterino and improvvisatore. oral poetry and performance BLAKE WILSON Fifteenth-century Italy witnessed a distinctive chapter in the ancient and global history of oral poetry. Aspects of Renaissance Italian poetic performance are clearly linked with oral practices of all times and places: the conception of poetry as a multivalent and nearly universal form of human discourse, a tendency for poetic voice to culminate in song (often instrumentally accom• panied), and the inseparability of oral poetry from the agonistic environment of performance.1 The interrelated operations of memory and improvisation, too, played essential roles: music was never notated and always improvised, while the poetry was sometimes improvised but may have been conditioned by writing. The capacity of a well-trained memory to engage in both recall and combinatorial invention meant that while "improvisation" of text or music almost always involved some element of composition in performance, it was rarely ex nihilo, but involved the refashioning (rifacimento) of preexistent materials. -
“Tonight My Gun Is Loaded”: Poetic Dueling in Arabia
Oral Tradition, 4/1-2 (1989): 151-73 “Tonight My Gun Is Loaded”: Poetic Dueling In Arabia Saad Abdullah Sowayan Introduction Although folk traditions are rapidly disappearing in Arabia as it is suddenly transformed from an illiterate society to a modern state, poetic dueling remains one of the most popular and spectacular folk performances. Oral poets are paid handsomely at weddings, festivals, and similar public occasions to entertain spectators with their verbal jousts. Encouraged by eager audiences and by an accompanying chorus that repeats their improvised verses, the competing poets can stay up singing and playing until the call to the morning prayer. Poetic dueling is part of a larger poetic tradition locally called Nabaṭī (i.e. vernacular) poetry, the direct continuation and living representative of classical Arabic poetry, the poetry of pre-Islamic and early Islamic Arabia (Sowayan 1985). It should be remembered that even though the classical poetic tradition of Arabia survives today in written form and has become the ultimate model in Arabic written literature, it was originally a popular oral tradition. In its gradual movement to become truly written literature, depending strictly on pen and paper in its composition and transmission, Arabic poetry lost its oral features. These oral features survive today in Nabaṭī poetry, which, linguistic differences apart, mirrors its classical predecessor in form, content, and function as well as in the process of its composition, transmission, and performance (ibid.). This fact offers us new possibilities for comparative research. No longer can we look at one of these poetic traditions in isolation from the other, and whatever scientifi c progress we make in our study of one will have direct bearing on our understanding of the other. -
Humanism, Philippe De Vitry, and the Ars Nova
i THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC HUMANISM, PHILIPPE DE VITRY, AND THE ARS NOVA by G. VICTOR PENNIMAN A thesis submitted to the School of Music in partial fulfillment of the requirements for the degree of Master of Music in Musicology Degree Awarded: Fall Semester, 1997 i ii The members of the Committee approve the thesis of G. Victor Penniman defended on 25 July, 1997. __________________ Charles Brewer Professor Directing Thesis __________________ Lori Walters Outside Committee Member __________________ Jeffery Kite-Powell Committee Member Approved: ________________________________________________________ Jeffery Kite-Powell, Chair, Department of Musicology ________________________________________________________ John J. Deal, Assistant Dean, Graduate Studies in Music ii iii Table of Contents Abstract ............................................................................................................................. v INTRODUCTION .............................................................................................................1 Chapter Page 1. TOWARD A DEFINITION OF HUMANISM..........................................................8 Humanism as a Renaissance Characteristic......................................................8 Evidence of Pre-Renaissance Humanism: The French Classical Literary Tradition ..............................................12 Italy………………. ..............................................................................................30 Humanism: Summary and Definition .............................................................34 -
The Matrix of Lyric Transformation
The Matrix of Lyric Transformation The Matrix of Lyric Transformation Poetic Modes and Self-Presentation in Early Chinese Pentasyllabic Poetry Zong-qi Cai CENTER FOR CHINESE STUDIES THE UNIVERSITY OF MICHIGAN ANN ARBOR Open access edition funded by the National Endowment for the Humanities/ Andrew W. Mellon Foundation Humanities Open Book Program. MICHIGAN MONOGRAPHS IN CHINESE STUDIES ISSN 1081-9053 SERIES ESTABLISHED 1968 VOLUME 75 Published by Center for Chinese Studies The University of Michigan Ann Arbor, Michigan 48109-1290 First Edition 1996 © 1996 Center for Chinese Studies The University of Michigan Printed and made in the United States of America © The paper used in this publication conforms to the American National Standard for Information Sciences— Permanence of Paper for Publications and Documents in Libraries and Archives ANSI/NISO/Z39.48— 1992. Library of Congress Cataloging-in-Publication Data Cai, Zong-qi, date. The matrix of lyric transformation : poetic modes and self-presentation in early Chinese pentasyllabic poetry / Zong-qi Cai. p. cm. — (Michigan monographs in Chinese studies ; 75) ISBN 0-89264-111-8 (alk. paper) 1. Chinese poetry— Ch'in and Han dynasties— History and criticism. 2. Yueh fu (Chinese poetry)— History and criticism. 3. Ts'ao, Chih, 192-232— Criticism and interpretation. 4. Juan, Chi, 210-263— Criticism and interpretation. 5. Poetic. I. Title. II. Series PL2314.C35 1996 895.1'2209—dc20 96-9730 CIP ISBN 978-0-89264-111-6 (hardcover) ISBN 978-0-472-03805-3 (paper) ISBN 978-0-472-12749-8 (ebook) ISBN 978-0-472-90144-9 -
Kenneth Rexroth's Approach to Classical Chinese Poetry
Comparative Civilizations Review Volume 19 Number 19 Fall 1988 Article 5 10-1-1988 Communication and Deviation: Kenneth Rexroth's Approach to Classical Chinese Poetry Yunzhong Shu University of Massachusetts, Amherst Follow this and additional works at: https://scholarsarchive.byu.edu/ccr Recommended Citation Shu, Yunzhong (1988) "Communication and Deviation: Kenneth Rexroth's Approach to Classical Chinese Poetry," Comparative Civilizations Review: Vol. 19 : No. 19 , Article 5. Available at: https://scholarsarchive.byu.edu/ccr/vol19/iss19/5 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Comparative Civilizations Review by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Shu: Communication and Deviation: Kenneth Rexroth's Approach to Classi 79 COMMUNION AND DEVIATION Kenneth Rexroth's Approach to Classical Chinese Poetry YUNZHONG SHU Since the turn of this century many American poets have taken an interest in classical Chinese poetry. For several decades it was fashionable in America to translate and imitate Chinese poetry. Ezra Pound, Amy Lowell, Gary Snyder and, in our case, Kenneth Rexroth, are some notable figures in this movement. As a prolific translator, poet and essayist, Kenneth Rexroth not only trans- lated and imitated Chinese poetry conscientiously but also argued strongly for the merit of Chinese literature in his literary criti- cism. However, this only constitutes part of his significance in contemporary American literature. An acclaimed translator of Chinese poetry, he is also considered an excellent translator of poems from Japanese, Greek, Latin and Spanish. -
The Gujarati Lyrics of Kavi Dayarambhal
The Gujarati Lyrics of Kavi Dayarambhal Rachel Madeline Jackson Dwyer School of Oriental and African Studies Thesis presented to the University of London for the degree PhD July 1995 /f h. \ ProQuest Number: 10673087 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10673087 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 ABSTRACT Kavi Dayarambhal or Dayaram (1777-1852), considered to be one of the three greatest poets of Gujarati, brought to an end not only the age of the great bhakta- poets, but also the age of Gujarati medieval literature. After Dayaram, a new age of Gujarati literature and language began, influenced by Western education and thinking. The three chapters of Part I of the thesis look at the ways of approaching North Indian devotional literature which have informed all subsequent readings of Dayaram in the hundred and fifty years since his death. Chapter 1 is concerned with the treatment by Indologists of the Krsnaite literature in Braj Bhasa, which forms a significant part of Dayaram's literary antecedents. -
Heian Court Poetry-1.Indd
STRUMENTI PER LA DIDATTICA E LA RICERCA – 159 – FLORIENTALIA Asian Studies Series – University of Florence Scientific Committee Valentina Pedone, Coordinator, University of Florence Sagiyama Ikuko, Coordinator, University of Florence Alessandra Brezzi, University of Rome “La Sapienza” Marco Del Bene, University of Rome “La Sapienza” Paolo De Troia, University of Rome “La Sapienza” Fujiwara Katsumi, University of Tokyo Guo Xi, Jinan University Hyodo Hiromi, Gakushuin University Tokyo Federico Masini, University of Rome “La Sapienza” Nagashima Hiroaki, University of Tokyo Chiara Romagnoli, Roma Tre University Bonaventura Ruperti, University of Venice “Ca’ Foscari” Luca Stirpe, University of Chieti-Pescara “Gabriele d’Annunzio” Tada Kazuomi, University of Tokyo Massimiliano Tomasi, Western Washington University Xu Daming, University of Macau Yan Xiaopeng, Wenzhou University Zhang Xiong, Peking University Zhou Yongming, University of Wisconsin-Madison Published Titles Valentina Pedone, A Journey to the West. Observations on the Chinese Migration to Italy Edoardo Gerlini, The Heian Court Poetry as World Literature. From the Point of View of Early Italian Poetry Ikuko Sagiyama, Valentina Pedone (edited by), Perspectives on East Asia Edoardo Gerlini The Heian Court Poetry as World Literature From the Point of View of Early Italian Poetry Firenze University Press 2014 The Heian Court Poetry as World Literature : From the Point of View of Early Italian Poetry / Edoardo Gerlini. – Firenze : Firenze University Press, 2014. (Strumenti per la didattica e la ricerca ; 159) http://digital.casalini.it/9788866556046 ISBN 978-88-6655-600-8 (print) ISBN 978-88-6655-604-6 (online PDF) Progetto grafico di Alberto Pizarro Fernández, Pagina Maestra snc Peer Review Process All publications are submitted to an external refereeing process under the responsibility of the FUP Editorial Board and the Scientific Committees of the individual series. -
Jian'an Literature Revisited: Poetic Dialogues in the Last Three
Jian’an Literature Revisited: Poetic Dialogues in the Last Three Decades of the Han Dynasty Hsiang-Lin Shih A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: David R. Knechtges, Chair Ching-Hsien Wang Zev Handel Program Authorized to Offer Degree: Asian Languages and Literature ©Copyright 2013 Hsiang-Lin Shih University of Washington Abstract Jian’an Literature Revisited: Poetic Dialogues in the Last Three Decades of the Han Dynasty Hsiang-Lin Shih Chair of the Supervisory Committee: Professor David R. Knechtges Department of Asian Languages and Literature The Jian’an period (196-220), which is best known through the fictionalized account in the Romance of the Three States, is also an important literary period. It is celebrated for its major writers such as Cao Cao, Cao Pi, Cao Zhi and Wang Can. Previous scholars have mainly been concerned with the life and poetry of an individual writer. In this dissertation, I attempt to take an approach that crosses the boundary between individual writers. I read Jian’an poems— including shi, fu, and yuefu—as the authors’ poetic dialogues with their contemporaries. This approach is based on the fact that the writers gathered at the court of Cao Cao and shared the language of poetry. Whether drinking together or living apart, they often engaged in a dialogue on a common topic through the medium of writing. Their topics range from travel, careers, expeditions, to merriment. Like the Athenian speechmakers in Plato’s “Symposium,” Jian’an writers also tried to impress, persuade, entertain and challenge one another in their poems. -
Introduction to Chinese Literature
Introduction to Chinese Literature Fall 2005: EAS 232 Professor: Martin Kern (mkern@) Survey of classical Chinese literature. All readings are in English. Topics include: nature of the Chinese language; the beginnings of poetry; development of narrative and historical writing; classical Chinese poetics; nature poetry; literature of protest, dissent, and political satire; love poetry; religious and philosophical ideas in Chinese literature. (LA) Requirements Active and informed participation, based on the readings, in the weekly precept. Writings: 1. two-page weekly essays on a primary text of your choice, due on precept day; 2. eight page mid-term paper (due October 27); 3. twelve page final paper (due January 17). Grading Class participation and weekly writings 40 %. Mid-term paper 20 %. Final paper 40 %. Readings Readings average ca. 100 pages per week. You must read all assigned texts before precept. The principal textbook is Stephen Owen, An Anthology of Chinese Literature (New York: Norton, 1996), to be purchased at the University Store. In addition to the textbook and secondary readings, the following title is strongly recommended for historical background: Jacques Gernet, A History of Chinese Civilization (Cambridge: Cambridge University Press, 2nd ed. 1996 [and later]). As the semester proceeds, read the relevant parts of pp. 1-348. The book is available at the University Store. Readings on reserve (hard copy) in the East Asian Library (3rd floor of Frist Campus Center): Owen, An Anthology of Chinese Literature; Gernet, A History of Chinese Civilization; Wang, From Ritual to Allegory; Graham, Chuang-tzu; Durrant, The Cloudy Mirror. All other readings are on E-reserve and can be accessed either through the Blackboard course site or at http://infoshare1.princeton.edu/reserves/elecres.html. -
WU WENYING and the ART of SOUTHERN SONG CI POETRY By
WU WENYING AND THE ART OF SOUTHERN SONG CI POETRY by GRACE SIEUGIT FONG B.A., University Of Toronto, 1975 M.A., University Of Toronto, 1976 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES Department Of Asian Studies We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October 1984 © Grace Sieugit Fong, 1984 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Asian Studies The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date: October 15, 1984 i i Abstract The thesis studies the ci_ poetry of Wu Wenying (c.1200- c.1260) in the context of Southern Song c_i_ poetics and aims to establish its significance in contemporary developments and in the tradition of ci criticism. Chapter One explores the moral and aesthetic implications of Wu's life as a "guest-poet" patronized by officials and aristocrats, and profiles two relationships in Wu's life, the loss of which generated a unique corpus of love poetry. To define the art of Southern Song c_i, Chapter Two elucidates current stylistic trends, poetics, and aesthetics of ci, examining critical concepts in two late Song treatises, the Yuefu zhimi and Ciyuan.