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Sachgebiete Im Überblick 513
Sachgebiete im Überblick 513 Sachgebiete im Überblick Dramatik (bei Verweis-Stichwörtern steht in Klammern der Grund artikel) Allgemelnes: Aristotel. Dramatik(ep. Theater)· Comedia · Comedie · Commedia · Drama · Dramaturgie · Furcht Lyrik und Mitleid · Komödie · Libretto · Lustspiel · Pantragis mus · Schauspiel · Tetralogie · Tragik · Tragikomödie · Allgemein: Bilderlyrik · Gedankenlyrik · Gassenhauer· Tragödie · Trauerspiel · Trilogie · Verfremdung · Ver Gedicht · Genres objectifs · Hymne · Ideenballade · fremdungseffekt Kunstballade· Lied· Lyrik· Lyrisches Ich· Ode· Poem · Innere und äußere Strukturelemente: Akt · Anagnorisis Protestsong · Refrain · Rhapsodie · Rollenlyrik · Schlager · Aufzug · Botenbericht · Deus ex machina · Dreiakter · Formale Aspekte: Bildreihengedicht · Briefgedicht · Car Drei Einheiten · Dumb show · Einakter · Epitasis · Erre men figuratum (Figurengedicht) ·Cento· Chiffregedicht· gendes Moment · Exposition · Fallhöhe · Fünfakter · Göt• Echogedicht· Elegie · Figur(en)gedicht · Glosa · Klingge terapparat · Hamartia · Handlung · Hybris · Intrige · dicht . Lautgedicht . Sonett · Spaltverse · Vers rapportes . Kanevas · Katastasis · Katastrophe · Katharsis · Konflikt Wechselgesang · Krisis · Massenszenen · Nachspiel · Perioche · Peripetie Inhaltliche Aspekte: Bardendichtung · Barditus · Bildge · Plot · Protasis · Retardierendes Moment · Reyen · Spiel dicht · Butzenscheibenlyrik · Dinggedicht · Elegie · im Spiel · Ständeklausel · Szenarium · Szene · Teichosko Gemäldegedicht · Naturlyrik · Palinodie · Panegyrikus -
Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue. -
Refrain, Again: the Return of the Villanelle
Refrain, Again: The Return of the Villanelle Amanda Lowry French Charlottesville, VA B.A., University of Colorado at Boulder, 1992, cum laude M.A., Concentration in Women's Studies, University of Virginia, 1995 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English University of Virginia August 2004 ___________________________________ ___________________________________ ___________________________________ ___________________________________ ABSTRACT Poets and scholars are all wrong about the villanelle. While most reference texts teach that the villanelle's nineteen-line alternating-refrain form was codified in the Renaissance, the scholar Julie Kane has conclusively shown that Jean Passerat's "Villanelle" ("J'ay perdu ma Tourterelle"), written in 1574 and first published in 1606, is the only Renaissance example of this form. My own research has discovered that the nineteenth-century "revival" of the villanelle stems from an 1844 treatise by a little- known French Romantic poet-critic named Wilhelm Ténint. My study traces the villanelle first from its highly mythologized origin in the humanism of Renaissance France to its deployment in French post-Romantic and English Parnassian and Decadent verse, then from its bare survival in the period of high modernism to its minor revival by mid-century modernists, concluding with its prominence in the polyvocal culture wars of Anglophone poetry ever since Elizabeth Bishop’s "One Art" (1976). The villanelle might justly be called the only fixed form of contemporary invention in English; contemporary poets may be attracted to the form because it connotes tradition without bearing the burden of tradition. Poets and scholars have neither wanted nor needed to know that the villanelle is not an archaic, foreign form. -
Middle English Lyrics: Lyric Manuscripts 1200–1400 and Chaucer’S Lyric
Middle English Lyrics: Lyric Manuscripts 1200–1400 and Chaucer’s Lyric by Emma Kate Charters Gorst A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of English University of Toronto © Copyright by Emma Kate Charters Gorst 2013 Middle English Lyrics: Lyric Manuscripts 1200–1400 and Chaucer’s Lyric Emma Kate Charters Gorst Doctor of Philosophy Department of English University of Toronto 2013 Abstract This thesis endeavours to understand late medieval lyric poetry and song from two ostensibly separate contexts: insular manuscript witnesses of English lyric from 1200 to 1400; and the narrative effects of lyric in Geoffrey Chaucer’s longer poetry, including the Canterbury Tales, the Parliament of Fowls, and the Book of the Duchess. These two contexts yield new insights about the medieval lyric. First, an overview of the manuscripts of medieval lyric from 1200 to 1400 in England suggests that about half of anonymous lyrics in this period exist in multiple witnesses and are thus in some sense connected, providing us with the insight that lyric at this time was not so much fragmentary as embedded in rich networks of meaning. The first chapter of the thesis uses network mapping software to represent some of these networks, and discusses the relationships among lyrics that appear in Maidstone, Maidstone Museum MS A.13 and related manuscripts, such as Oxford, Jesus College MS 29, and Cambridge, Emmanuel College MS 27. ii Subsequent chapters of the thesis draw out connections between lyrics and narrative events in Chaucer’s poetry, showing in a very different sense that lyric as a literary form reaches outward from the speaker to the narrative world itself, inviting narrative events to take place. -
Dictionary of Music.Pdf
The FACTS ON FILE Dictionary of Music The FACTS ON FILE Dictionary of Music Christine Ammer The Facts On File Dictionary of Music, Fourth Edition Copyright © 2004 by the Christine Ammer 1992 Trust All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Ammer, Christine The Facts On File dictionary of music / Christine Ammer.—4th ed. p. cm. Includes index. Rev. ed. of: The HarperCollins dictionary of music. 3rd ed. c1995. ISBN 0-8160-5266-2 (Facts On File : alk paper) ISBN 978-1-4381-3009-5 (e-book) 1. Music—Dictionaries. 2. Music—Bio-bibliography. I. Title: Dictionary of music. II. Ammer, Christine. HarperCollins dictionary of music. III. Facts On File, Inc. IV. Title. ML100.A48 2004 780'.3—dc22 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design by James Scotto-Lavino Cover design by Semadar Megged Illustrations by Carmela M. Ciampa and Kenneth L. Donlan Grateful acknowledgment is made for permission to reprint an excerpt from Cornelius Cardew’s “Treatise.” Copyright © 1960 Hinrichsen Edition, Peters Edition Limited, London. -
OLD PROVENCAL and OLD FRENCH Discoveries Made Over A
OLD PROVENGAL AND OLD FRENCH 345 them, spread far and wide from the south of France in the twelfth and thirteenth centuries. In the Spanish peninsula and in Italy, poets wrote their lyrics in Provengal; in the north of France and in Germany, they imitated Provengal in their own verna- OLD PROVENCAL AND OLD FRENCH cular. The influence was deep and lasting as well as wide, and it is probable that most readers of this book have something in their mental or emotional make-up that by goes back to the twelfth-century courts of the south of France. B. WOLEDGE It is not to be expected than any society will produce, in the course of a century, (Lo/zdon) hundreds of poets all writing the same kind of poetry and all producing works of value, and it is not surprising if nowadays most Provenqal lyrics seem unpleasantly stereotyped; but there is a minority of works (including one or two dawn songs) which still charm us by their combination of poetic quality and technical skill. Discoveries made over a decade and a half ago have shown that we must revise our old To turn now to the dawn songs them~elves.~To Saintsbury, they were, with the notions of the place of Provengal lyrics in European literature : we can no longer hail sirventes, 'perhaps the most famous, peculiar and representative of Provengal form^';^ the earliest poets of the southern half of France as the creators of the lyrical poetry of Jeanroy, more harshly and with more truth, places the alba amongst the minor genres, Western Eur0pe.l But it is still true to say that among the literatures of mediaeval mostly cultivated by second-rate poets, and considers that only two among those Europe, Provengal occupies a place of immense importance, not only because of its preserved have real value.5 It is certainly true that, although nlbas are of great interest early date, but also because of its prestige and influence in non-Provengal lands, for the purposes of the present study, they are far from being one of the main types of because of its high technical achievement and, sometimes, because of its literary merit. -
At the Time of His Death in 1937, Maurice Ravel Was the Most Celebrated Contemporary Composer in France
PURLOINED POETICS: THE GROTESQUE IN THE MUSIC OF MAURICE RAVEL By JESSIE FILLERUP Copyright 2009 Submitted to the graduate degree program in Music and the faculty of the Graduate School of the University of Kansas in partial fulfillment of the requirements for the degree Doctor of Philosophy. ____________________________ Chairperson Committee members: ____________________________ ____________________________ ____________________________ ____________________________ ____________________________ Date defended: 6 April 2009 The Dissertation Committee for Jessie Fillerup certifies that this is the approved version of the following dissertation: PURLOINED POETICS: THE GROTESQUE IN THE MUSIC OF MAURICE RAVEL Committee: ____________________________ Chairperson ____________________________ ____________________________ ____________________________ ____________________________ ____________________________ Date approved: 6 April 2009 ii To Michael and Rebecca Mahalo nui loa iii ACKNOWLEDGMENTS Early on, I wondered if my experience writing a dissertation would resemble the fictional Jack Burden’s, who entered a period of inert semi-consciousness known as “the Great Sleep.” Faced with the prospect of completing his dissertation, Jack slept fourteen or fifteen hours a night; when he finally woke, it was to contemplate this thought: “If I don’t get up I can’t go back to bed.”1 I was fortunate to have better reasons for getting up in the morning. Those reasons begin with my dissertation advisor, Roberta Freund Schwartz, a scholar of Renaissance music and the blues; she shepherded my project with such care and conviction that anyone not looking closely would think I was writing about Robert Johnson, not Ravel. Roberta encouraged me to strive for greater clarity by sloughing off the stylistic and scholarly accretions that cling to graduate students like barnacles. I am grateful for her patience and conscientious attention to my writing, as well as her sustained enthusiasm for this project; her dedication is inspiring. -
A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature
A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor RESEARCH IN MEDIEVAL CULTURE Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Medieval Institute Publications is a program of The Medieval Institute, College of Arts and Sciences Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor MEDIEVAL INSTITUTE PUBLICATIONS Western Michigan University Kalamazoo Copyright © 2015 by the Board of Trustees of Western Michigan University All rights reserved Manufactured in the United States of America This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Taylor, Robert A. (Robert Allen), 1937- Bibliographical guide to the study of the troubadours and old Occitan literature / Robert A. Taylor. pages cm Includes index. Summary: "This volume provides offers an annotated listing of over two thousand recent books and articles that treat all categories of Occitan literature from the earli- est enigmatic texts to the works of Jordi de Sant Jordi, an Occitano-Catalan poet who died young in 1424. The works chosen for inclusion are intended to provide a rational introduction to the many thousands of studies that have appeared over the last thirty-five years. The listings provide descriptive comments about each contri- bution, with occasional remarks on striking or controversial content and numerous cross-references to identify complementary studies or differing opinions" -- Pro- vided by publisher. ISBN 978-1-58044-207-7 (Paperback : alk. paper) 1. Provençal literature--Bibliography. 2. Occitan literature--Bibliography. 3. Troubadours--Bibliography. 4. Civilization, Medieval, in literature--Bibliography. -
Shakespeare and the Poet's Life
University of Kentucky UKnowledge Literature in English, British Isles English Language and Literature 1990 Shakespeare and the Poet's Life Gary Schmidgall Hunter College Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Schmidgall, Gary, "Shakespeare and the Poet's Life" (1990). Literature in English, British Isles. 67. https://uknowledge.uky.edu/upk_english_language_and_literature_british_isles/67 Shakespeare and the Poet's Life Shakespeare and the Poet's Life GARY SCHMIDGALL THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1990 by the University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine College, Berea College, Centre College of Kentucky, Kastcrn Kentucky University, The Filson Club, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Ixmisvillc, and Western Kentucky University. Editorial and Sales Offices: Ixxington, Kentucky 40506-0336 Library of Congress Cataloging-in-Publication Schmidgall, Clary, 1945- Shakespcare and the poet's life / Clarv Schmidgall. p. cm. Includes bibliographical references. ISBN O-8I3I-17O6-2 : 1. Shakespeare, William, 1564-1616—Authorship 2. Shakespeare, William, 1564-1616—Contemporaries. 3. Poets in literature. 4. Courts and courtiers in literature. 5. Great Britain—Court and courtiers. 6. Poets, Knglish—Karly modern, 1500-1700—Political and social views. -
Romańska Alba Tradycyjna. Między Pieśnią Ludową a Dworską
Grażyna Urban-Godziek TERMINUS t. 22 (2020) z. 2 (55) s. 103–122 www.ejournals.eu/ Romańska alba tradycyjna Terminus Między pieśnią ludową a dworską Abstract Keywords Romanic Traditional Alba—Between Popular Poetry and Courtly One This paper initiates a series of texts devoted to genres of love songs that combine alba, kharja, the motif of a parting or meeting of lovers at the break of dawn. It is a genological cantiga de amigo, introduction to the classification of Polish poems of this kind from the 16th and popular lyric, 17th centuries (Chapter 1. Introduction. Premises for this cycle of studies). Morning courtly lyric, love songs—here referred to as albas or alboradas—appeared at the very beginning Nuno Fernandes of mediaeval Romance lyricism, that is, at the turn of the 10th and 11th centuries Torneol (Moz arabic kharja). Although they originated from folk ‘women’s songs’, they were soon included in the repertoire of troubadours and incorporated into their genre system. The first study is devoted to works focusing on lovers parting in the morning. It investigates the functioning of this type of lyric on the borderline between the tra- ditional and courtly registers (Chapter 2. Controversy. Folk and learned albas; Chan- sone de femme and grand chant courtois) and presents a traditional version of alba (Chapter 3. Traditional alba (popular, folk)). The traditional alba is a thematic genre, focused on the scene of lovers parting at dawn. It is distinguished from the courtly alba (the troubadour type) by the important role of nature. The lovers meet outside the city, in natural scenery, and are awakened by the singing of morning birds (there are no guards, spies, or jealous husbands lurking in the background). -
A Reading of La Chanson Du Mal-Aimé As a Medieval Romance.” Juliet O'brien, Department of French and Italian, Princeton University February 2003
!1 “A Reading of La Chanson du Mal-Aimé as a Medieval Romance.” Juliet O'Brien, Department of French and Italian, Princeton University February 2003. This paper will address the problem of reading and making sense of the Chanson du Mal- Aimé, as part of the long-standing debate around its organisation. The first difficulty to catch the reader’s eye is a disjunction between the title, “la chanson du mal-aimé,” and the epigraph’s “et je chantais cette romance.” Reading on, the disjunction is recalled by the fourth and fifth lines of stanza 19, “la romance du mal aimé / et des chansons pour les sirènes.” As stanza 19 is repeated in stanza 59, the final one, chanson and romance are key parts of an important refrain. Some critics spot this chanson/romance disjunction, but then dismiss it as a serious problem, due to some combination of three erroneous misperceptions. First, romance and chanson are misread as interchangeable.1 Second, they are seen as just representing any old dead genres. Third, romance is viewed as a purely narrative form and interchangeable with heroic epic. Whilst falling into the second pitfall,2 Claude Morhange-Bégué offers a clue to solve the chanson/romance problem, in her fine and meticulous analysis of the poem's organisation around similarity and difference. Such a double-natured structure prompted me to read the Mal-Aimé as a romance, itself an essentially double genre within which the structures of similarity can be identified with the narrative part of romance, and those of difference with its lyric part.3 The lyric parts of romance, especially its central “hidden treasure,” are more enigmatic than the narrative parts, and have been labelled as disruptive. -
The Mélodies of Cécile Chaminade: Hidden Treasures for Vocal Performance and Pedagogy
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks THE MÉLODIES OF CÉCILE CHAMINADE: HIDDEN TREASURES FOR VOCAL PERFORMANCE AND PEDAGOGY BY ROBIN SMITH Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Voice Indiana University May, 2012 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ________________________________________ Patricia Havranek, Research Director/Chairperson _______________________________________ Robert Harrison _______________________________________ Patrice Madura Ward-Steinman _______________________________________ Marietta Simpson ii ACKNOWLEDGEMENTS I want to extend my deepest appreciation to my doctoral committee—Patricia Havranek, Robert Harrison, Patrice Madura Ward-Steinman and Marietta Simpson who have consistently supported all of my efforts to finish this degree and have always believed in my talents and academic abilities. To Patricia Havranek, I give special thanks for demonstrating daily what a teacher and mentor should be. Thank you for accepting me as your student and creating a wonderful community within our studio. Since many of the pieces I needed for this project were out of print or difficult to obtain, I am grateful to Silvia Harnisch at the Bibliothèque de musique at the Berner Fachhochschule in Switzerland and Margaret Jones at the Cambridge University Library in the United Kingdom for allowing me to view rare copyrighted music in order to complete this project. Although not directly related to the completion of this particular project, many faculty members have provided employment, encouragement and support so I could remain in Bloomington to finish my degree requirements.