DOCSLIB.ORG

Hervey De Saint-Denys

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hervey De Saint-Denys ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚˚ˉ˚ˉ˚ Hervey de Saint-Denys DREAMS AND THE WAYS TO DIRECT THEM: PRACTICAL OBSERVATIONS Edited by Drs. Carolus den Blanken & Drs. Eli Meijer ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ -I- PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK By using or distributing this work you agree to comply with all the terms of THE FULL LICENSE General terms of use and redistributing: 1. By reading or using any part of this electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using it and destroy all electronic copies in your possession. 2. This work must be kept in the same format with its attached ‘Full License’ when you share it with others. 3. The following paragraph must appear prominently in any copy of this work that is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the personal use of anyone anywhere at no cost. You may copy it or give it away and may print it for your own use. The copyright holder, Carolus den Blanken, reserves all other rights to ‘Dreams and the Ways to Direct Them: Practical Observations’, including, but not limited to, print, film, audio, and foreign rights. 4. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing this work. 5. Limited warranty, disclaimer of damages.– Carolus den Blanken disclaims all liability to you for damages, costs and expenses, including legal fees. You agree that you have no remedies for negligence, strict liability, breach of warranty or breach of contract. You agree that Carolus den Blanken under this agreement will not be liable to you for actual, direct, indirect, consequential, punitive or incidental damages even if you give notice of the possibility of such damage. 5. This work is provided to you 'as-is’ with no other warranties of any kind, express or implied, including, but not limited to, warranties of merchantability or fitness for any purpose. 6. Indemnity- You agree to indemnify and hold Carolus den Blanken and anyone providing copies of this electronic work ‘Dreams and the Ways to Direct Them: Practical Observations’, in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of ‘Dreams and the Ways to Direct Them: Practical Observations’, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this work, (b) alteration, modification, or additions. -II- -III- ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚˚ˉ˚ˉ˚ˉ DREAMS AND THE WAYS TO DIRECT THEM: PRACTICAL OBSERVATIONS by Marquis d’Hervey de Saint-Denys Edited by Drs. Carolus den Blanken & Drs. Eli Meijer Left portrait by Eugène Pirou © Académie des Inscriptions et Belles-Lettres Right portrait © College de France Marquis d’ Hervey de Saint-Denys (1822-1892) If we would dream all night long about the same, it would affect us as much as the objects which we observe during daytime. Pascal ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ Dedicated to Prof. Dr. Paul Tholey (1937-1998) ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚˚ˉ˚ˉ˚ˉ -IV- -V- ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ Colophon Original title: Les Rěves et les Moyens De Les Diriger: Observations Pratiques. (Dreams and The Ways To Direct Them: Practical Observations) Appeared as an anonymous publication. In later days the work has been attributed to Marie-Jean-Léon Lecoq, Baron de Juchereau, Marquis d’ Hervey de Saint-Denys. The book was published in 1867 at: Amyot, 8, Rue de La Paix; Paris and printed by Lemercier et Ce, Rue de Seine 57, Paris. Designer front cover: Henri Alfred Darjou. Designer frontispiece: Hervey de Saint-Denys. Style and lay-out trail as much as possible the original. Front-, back cover and frontispiece derive from it. Footnotes: Hervey de Saint-Denys, except if indicated otherwise. Edited by: Drs. Carolus den Blanken & Drs. Eli Meijer. Translation, typography & design: Drs. Carolus den Blanken. Translator & editor Latin sentences: Prof. Dr. Jan van Gijn. I want to emphasize that I am not a professional translator, and that nor the French nor the English language is my native one. However, by lack of an integral English translation of this remarkable French work of a great (lucid) dream pioneer I decided to do it myself. CdB © Institut de France © 2016 Carolus den Blanken – Utrecht - The Netherlands ISBN: 978-90-820963-6-1 This E-Book is for the personal use of anyone anywhere at no cost. You may copy it or give it away and may print it for your own use. The copyright holder, Carolus den Blanken, reserves all other rights to ‘Dreams and the Ways to Direct Them: Practical Observations’, including, but not limited to, print, film, audio, and foreign rights. All trademarks mentioned in this book are the property of their respective owners. No infringement is intended or should be inferred. ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ -VI- -VII- © Yale Medical School Library See pages 159, 176 for explanation of the frontispiece -VIII- -IX- ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ The Front Cover The designer of the front cover is: Henri Alfred Darjou (1832-1875), a French painter and draughtsman. The lion is featuring Léon d'Hervey’s face, and at his right side his fiancée and later wife, Louise de Ward. It also shows his castle at Bréau-sans-Nappe. Sources: Blanken, C.M. den & Meijer, E.J.G.: An historical view of ‘Dreams and the Ways to Direct Them; Practical Observations’ by Marie-Jean-Léon Lecoq, le Marquis d’Hervey-Saint-Denys. Lucidity, 10 (1&2) pg. 311-323; 1991 (revised edition), as well as: Luppé, O. de, Pino, A , Ripert, R. & Schwartz, B.: D’Hervey de Saint-Denys 1822-1892; Biographie, correspondance familiale, l’œvre du sinologue et les hommages rendus à l’auteur lors du centenaire de sa mort et l’exposition artistique autour de ses rêves (Transl.: Biography, family correspondence, the sinologue works and tributes to the author at the centenary of his death and the art exhibition around his dreams). Éditions Oniros; Ĭle Saint-Denis Cedex; 1995. The tributes were by Carolus den Blanken; Celia Green; Roger Ripert & Paul Tholey. © Yale Medical School Library ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ˚ˉ -X- PART 1 1 THE DREAMS ________________ PART I WHAT YOU CAN EXPECT TO FIND IN THIS BOOK AND HOW IT WAS COMPOSED. _________ I Introductory talks.—For whom this book is not written.—At what age and under what circumstances I started jotting down my dreams and studying them.—My first discoveries and advances in this direction.—I am compelled however these studies, which I later resumed, to interrupt.—Why I did not compete in 1855 and under which conditions I decided to publish my research now. Let us follow imaginary step by step the progress of the human mind with his whimsical wanderings; let us analyze thoroughly certain natural details in order to shed light on the consistency of the descriptions; let us delve into the reciprocity between daily operations and the dreamillusions; this issue already constitutes in itself a fairly substantial interest, but if the outcome of this study provides evidence that willpower during the many entanglements of our imaginary existence is not inactive at all, that sometimes one might control the dreamillusions like at events during the day, that it is not impossible to remember some magical vision, just as someone is capable to go back to some beloved place in real life, this perspective would undoubtedly deserve special attention, the interest itself would assume a characteristic, which initially was not suspected. Is the dream the third mode of existence? Is, for those who are searching, the phenomenon of the dream not closely related to the great mystery of the mind-body duality, which one never ceases to probe? Is there finally among those who know themselves existing not at least one who keeps recollection of some delectable vision which left a pleasant and lasting impression in his memory? How much the imagination creates wonderful spectacles when it rules in absolute sovereignty, freed from what life demands of progress and barriers, without any reserve left to all the delights of the ideal! The nightmares, the monsters, the unspeakable horrors sometimes are causing, it is true, awkward emotions of abandonment; but what delightful areas, what charming appearances, what precious revelations and perceptions of unparalleled vibrancy, by which we sometimes upon awakening regret the short durance of the night! 2 PART I I realize that such introductions will be received very badly by some people who assure having only a mortiform sleep, and whom the thought that their mind might be awakened reject as only a nonsensical opinion; but it is not for them at all that I publish this volume; I even urge them strongly not to open it.
Load more

Recommended publications
  • THE POETIC MUSE: GOETHE, SCHUBERT and the ART of SONG Lorraine Byrne Bodley Anyone Who Ventures Into the Vast Regions of The
    THE POETIC MUSE: GOETHE, SCHUBERT AND THE ART OF SONG Lorraine Byrne Bodley Anyone who ventures into the vast regions of the 19th-century Lied meets a powerful presence almost immediately. Time and again the text is by Goethe, whose lyric imagination left an indomitable imprint on European music history. Even a cursory glance at Friedlaender’s Das deutsche Lied bears testimony to multiple settings of Goethe’s poems and the range and variety of this abundant repertoire is immediately striking. Ernst Challier’s Grosser Lieder-Katalog gives further evidence of the musicality of Goethe’s language and its location of meaning at the cradle of the Lied. Schubert’s first masterpiece, ‘Gretchen am Spinnrade’, was a setting of a dramatic scene from Goethe’s Faust. The earliest songs of Reichardt, Spohr, Loewe, Brahms and Wagner were to texts by Goethe, which raises the question as to the reasons for the poet’s influence. Yes, Goethe was a supreme lyric poet. The binding force of form and meaning, or rhythm and sense, that characterizes Goethe’s lyric poetry offered composers a wealth of material with which to cut their compositional cloth. Yes, Goethe was an object of admiration, even veneration, throughout the 19th century and the sheer quantity and variety of music his poetry has inspired signals the huge fascination exerted by his writing and his personality. Yet the steadfastness of his occupancy of the Lied goes beyond these explanations. Deeper currents must explain why Goethe’s poetry goes hand in glove in our musical heritage. From the time he burst onto the literary scene with the publication of Die Leiden des jungen Werther in 1774 until long after his death in 1832, Goethe was a catalyst for many composers who wanted to challenge what song could be.
    [Show full text]
  • Episode 131: Titty Graveyard Release Date
    Episode 131: Titty Graveyard Release Date: September 14, 2020 Running Time: 45 minutes Sally: Everybody Hates Rand is a Wheel of Time podcast that will contain spoilers for all 14 books. So if you’re anti-spoiler, pause this, read all 14 books, and come back. We’ll be here. Waiting. Emily: Our title is a joke and is meant to be taken as such. In the context of this podcast, “everybody” refers to us and our cat. You are free to feel however you want about Rand, who is a fictional character. Don’t DM us. (theme song by Glynna MacKenzie plays) Emily: Yeah, now we can, uh, kick off back into Wheel of Time world. (laugh) This is Everybody Hates Rand. It’s your friendly neighborhood Wheel of Time podcast. Uh, I am Emily Juchau. Sally: I am Sally Goodger. Emily: And, um, here we are. We have entered -- and I really do need to get one of those apps that makes air horn noises -- I swear I say this every time, but -- Sally: I might have one. Hold on. Emily: Um, we’re in climax territory. And yes, you can smile because “climax” is a double entendre for sex stuff. (laugh) Sally: I think I deleted my air horn app. Emily: Oh, no. (laugh) Sally: Because I needed to clear -- wait, hold on. I guess I can just search it. Air -- horn -- sound. (air horn sound) Sally: There we go. Emily: That wasn’t as exciting -- I wanted it to be like, “Ba! Ba ba ba ba!” Sally: Sorry.
    [Show full text]
  • A Psychoanalytic Reading of the Character Mignon on Her Journey Through Nineteenth Century Lieder
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of North Carolina at Greensboro ALBERT, ANNE E., D.M.A. Fragments: A Psychoanalytic Reading of the Character Mignon on Her Journey Through Nineteenth Century Lieder. (2009) Directed by Dr. Robert Wells. 58pp. The songs of Mignon from Goethe’s novel Wilhelm Meister’s Apprenticeship (Wilhelm Meisters Lehrjahre) have been set hundreds of times by dozens of composers from the late 18th century onward. Though most frequently set by composers from the German School, Mignon’s songs have also been popular with many non-Germans including works by French, Russian, and Italian composers. Mignon’s mysterious persona has long fascinated song composers and many have been compelled to set her songs multiple times. The purpose of this study is to explore the character of Mignon from Goethe’s novel, Wilhelm Meister’s Apprenticeship through the lens of a psychoanalytic literary critic. I will examine six different composer’s settings of Mignon’s first song in the novel, “Kennst du das Land?” in order to understand how each composer portrays her character differently as seen through their unique compositional styles, their own psychology, and the style periods in which they wrote. The method of literary criticism applied to the song settings becomes psychoanalytic reader-response criticism as we move from merely analyzing Goethe’s depiction of Mignon to each composer’s depiction and reception of Goethe’s character in addition to our own reception of that persona. One of the goals of this research is to show how Mignon’s character is transformed as she makes her way through history in the development of Lieder.
    [Show full text]
  • A Comparison of Robert Schumann's and Hugo Wolf's Settings
    A COMPARISON OF ROBERT SCHUMANN’S AND HUGO WOLF’S SETTINGS OF GOETHE’S MIGNON LIEDER A RESEARCH PAPER SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF MUSIC BY CARRIE RIVERA JOSEPH LEVITT – ADVISOR BALL STATE UNIVERSITY MUNCIE, IN MAY 2012 2 The nine poems presented throughout Johann Wolfgang von Goethe’s Wilhelm Meister’s Lehrjahre have continued to fascinate German composers for the last three centuries. Of the three characters represented in these poems throughout the novel, one character in particular has remained the most fascinating, the character of Mignon. While at the same time seeming to possess a naïve quality about her, Mignon is also tainted by the suffering she had faced throughout her short life. In an attempt to capture what composers perceived as the true character of Mignon, several have set her poems to music. Of the many musical settings of the Mignon poetry found today, two stand out among the rest, that of Robert Schumann and Hugo Wolf. In order to find which composer’s musical setting best represents the complex character of Mignon, this study will consist of comparing Schumann’s and Wolf’s settings of the Goethe’s four Mignon poems to the character descriptions of Mignon found in Eric A. Blackwell and Victor Lange’s English translation of Goethe’s Wilhelm Meister’s Lehrjahre. The four poems that will be looked at include Goethe’s “Kennst du das Land?” “Nur wer die Sehnsucht kennt,” Heiss mich nicht reden,” and “So lasst mich scheinen.” While several past studies have claimed Hugo Wolf’s setting of the Mignon lieder to be far superior to all other settings in its ability to represent the character of Mignon in the music, this study will instead strive to demonstrate how Robert Schumann’s musical setting of Goethe’s Mignon lieder best represents the character of Mignon.
    [Show full text]
  • Song Pack Listing
    TRACK LISTING BY TITLE Packs 1-86 Kwizoke Karaoke listings available - tel: 01204 387410 - Title Artist Number "F" You` Lily Allen 66260 'S Wonderful Diana Krall 65083 0 Interest` Jason Mraz 13920 1 2 Step Ciara Ft Missy Elliot. 63899 1000 Miles From Nowhere` Dwight Yoakam 65663 1234 Plain White T's 66239 15 Step Radiohead 65473 18 Til I Die` Bryan Adams 64013 19 Something` Mark Willis 14327 1973` James Blunt 65436 1985` Bowling For Soup 14226 20 Flight Rock Various Artists 66108 21 Guns Green Day 66148 2468 Motorway Tom Robinson 65710 25 Minutes` Michael Learns To Rock 66643 4 In The Morning` Gwen Stefani 65429 455 Rocket Kathy Mattea 66292 4Ever` The Veronicas 64132 5 Colours In Her Hair` Mcfly 13868 505 Arctic Monkeys 65336 7 Things` Miley Cirus [Hannah Montana] 65965 96 Quite Bitter Beings` Cky [Camp Kill Yourself] 13724 A Beautiful Lie` 30 Seconds To Mars 65535 A Bell Will Ring Oasis 64043 A Better Place To Be` Harry Chapin 12417 A Big Hunk O' Love Elvis Presley 2551 A Boy From Nowhere` Tom Jones 12737 A Boy Named Sue Johnny Cash 4633 A Certain Smile Johnny Mathis 6401 A Daisy A Day Judd Strunk 65794 A Day In The Life Beatles 1882 A Design For Life` Manic Street Preachers 4493 A Different Beat` Boyzone 4867 A Different Corner George Michael 2326 A Drop In The Ocean Ron Pope 65655 A Fairytale Of New York` Pogues & Kirsty Mccoll 5860 A Favor House Coheed And Cambria 64258 A Foggy Day In London Town Michael Buble 63921 A Fool Such As I Elvis Presley 1053 A Gentleman's Excuse Me Fish 2838 A Girl Like You Edwyn Collins 2349 A Girl Like
    [Show full text]
  • 8.554666 Bk Schubert 15/4/03 1:45 PM Page 28
    8.554666 bk Schubert 15/4/03 1:45 PM Page 28 DEUTSCHE Also available on Naxos: SCHUBERT-LIED-EDITION • 13 SCHUBERT Goethe Lieder, Vol. 2 Ruth Ziesak, Soprano • Ulrich Eisenlohr, Piano Christian Elsner, Tenor 8.554741 8.555780 8.554795 8.554796 8.554666 28 8.554666 bk Schubert 15/4/03 1:45 PM Page 2 THE DEUTSCHE SCHUBERT-LIED-EDITION Also available on Naxos: In 1816 Franz Schubert, together with his circle of friends, decided to publish a collection of all the songs Deutsche Schubert Lied Edition Vol. 1 which he had so far written. Joseph Spaun, whom Schubert had known since his school days, tried his (and Winterreise Deutsche Schubert Lied Edition Vol. 7 Schubert’s) luck in a letter to the then unquestioned Master of the German language, Johann Wolfgang von Roman Trekel, Baritone The European Poets, Vol. 1 Goethe: Ulrich Eisenlohr, Piano. 8.554471 Cronnan • Das Mädchen von Inistore A selection of German songs will constitute the beginning of this edition; it will consist of Ellens Gesang I, II & III • Gesang der Norna Kolmas eight volumes. The first two (the first of which, as an example, you will find in our letter) Deutsche Schubert Lied Edition Vol. 2 Klage • Lied des gefangenen Jägers • Lied der Anne contains poems written by your Excellency, the third, poetry by Schiller, the fourth and fifth, Schwanengesang • Auf dem Strom • Herbst Lyle • Lodas Gespenst • Normans Gesang works by Klopstock, the sixth by Mathison, Hölty, Salis etc., the seventh and eighth contain Lebensmut • Lieder on texts by Ludwig Rellstab Ossians Lied nach dem Falles Nathos songs by Ossian, whose works are quite exceptional.
    [Show full text]
  • Lillian, Fred
    Alison Strub LILLIAN, FRED BOAAT PRESS Jackson, NJ USA Copyright © 2016 Alison Strub Cover Art, Layout, and Design by meg willing | www.megwilling.com BOAAT Logo by Florence Shearer Text set in Baskerville Portable Document Format www.boaatpress.com Alison Strub LILLIAN, FRED TABLE OF CONTENTS I..........................................................................................................................1 II.........................................................................................................................2 III.......................................................................................................................3 IV........................................................................................................................4 V.........................................................................................................................5 VI.......................................................................................................................6 VII......................................................................................................................7 VIII....................................................................................................................8 IX.......................................................................................................................9 X......................................................................................................................10 XI.....................................................................................................................11
    [Show full text]
  • Repertoire List~
    ~Repertoire List~ Contact us for your desired selection! Title Composer Ensemble A Thousand Years C. Perri Quartet Across the Universe Beatles Quartet Agnus Dei/Holy Holy Holy Michael W. Smith Quartet Air Bach Quartet Air from Water Music Handel Solo, Duet, Trio, Quartet Air On G Bach Duet, Trio, Quartet All I Want is You U2 Quartet All of Me Holliday Trio, Quartet All of Me John Legend Quartet All You Need is Love The Beatles Quartet Alleluia Church Music Quartet (Piano Score) Allelujia from Exultate Jubilate Mozart Duet, Trio, Quartet Amazing Grace Traditional Solo, Duet, Trio, Quartet Amen Church Music Quartet (Piano Score) Andante from Piano Concert 21 Mozart Trio, Quartet Annie’s Song J. Denver Quartet Annie’s Theme Alan Silvestri Trio, Quartet Apollo 13 Horner Quartet Appalachia Waltz O’Connor Trio, Quartet Arioso Bach Solo, Duet, Trio, Quartet Arrival of the Queen of Sheba Handel Trio, Quartet Ashokan Farewell Jay Ungar Quartet (Piano Score) At Last Harry Warren Quartet Ave Maria Bach-Gounod Solo, Duet, Trio, Quartet Ave Maria (A flat) Schubert Quartet (Piano Score) Ave Maria (B flat) Schubert Quartet Ave Verum Corpus Mozart Solo, Duet, Trio, Quartet (plus Piano Score) Barcarolle from Tales of Hoffman Offenbach Quartet Be Thou My Vision Traditional Duet, Trio, Quartet Beauty and the Beast Ashman Quartet Bei Mennern from The Magic Flute Mozart Quartet Best Day of My life American Authors Quartet Bist du bei mer Bach Trio, Quartet Bittersweet Symphony M. Jagger Quartet Blessed are They Church Music Quartet Blessed are Those Who Love You Haugen Quartet (Piano Score) Blue Moon Rodgers Quartet Born Free Barry Quartet Bourree Bach Solo, Duet, Trio, Quartet Bourree Handel Solo, Duet, Trio, Quartet Brandenburg Concerto No.
    [Show full text]
  • 'Independence of the Composer from the Poet'
    ‘Independence of the composer from the poet’: A comparative analysis of eight settings of Goethe’s Nur wer ​ die Sehnsucht kennt Ruben Adriaan Meijerink (10424156) – Master’s Thesis February 16, 2020 Thesis supervisor: Dr. R.M. Helmers Second reader: Prof. dr. J.J.E. Kursell Table of contents Introduction 3 Context of the poem and its settings 9 The poem itself 14 Method 16 Analysis 28 Mignon (lines 1-2) 28 Mignon (lines 3-4) 35 Mignon (lines 5-6) 41 Mignon (lines 7-8) 47 Mignon (lines 9-10) 54 Mignon (lines 11-12) 61 Conclusion 67 Appendix: scores 74 2 Introduction It is commonly held that music is a type of language. Since music and language both rely on organized sound, it is hard to make an absolute distinction between the two. We speak of the musicality of language, or even that music has a grammar. Musicality of language is particularly relevant in poetry. When reciting a poem, it is easily recognized that poetic language is ‘musical’, with its rhythms, pitches and rhetorical ebb-and-flows. In some poems, the sounds of the words are even more important than merely communicating their lexical meanings. Indeed, these non-referential components of poetry make the comparison with music especially apt: both a piece of music and a poem can be seen as a composition of ordered sounds. Poetry and music are often combined in song. In setting words to music, song composers, when presenting their musical material, need to grapple with an appropriate diction, as well as the poem’s rhythms and specific sounds.
    [Show full text]
  • Schubert Der Taucher the Diver D 77 Formerly D 111 in a Minor for Voice Piano Sheet Music
    Schubert Der Taucher The Diver D 77 Formerly D 111 In A Minor For Voice Piano Sheet Music Download schubert der taucher the diver d 77 formerly d 111 in a minor for voice piano sheet music pdf now available in our library. We give you 6 pages partial preview of schubert der taucher the diver d 77 formerly d 111 in a minor for voice piano sheet music that you can try for free. This music notes has been read 2421 times and last read at 2021-09-28 12:59:23. In order to continue read the entire sheet music of schubert der taucher the diver d 77 formerly d 111 in a minor for voice piano you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Voice, Piano Accompaniment Ensemble: Mixed Level: Intermediate [ READ SHEET MUSIC ] Other Sheet Music Schubert Der Taucher The Diver D 77 Formerly D 111 In G Sharp Minor For Voice Pno Schubert Der Taucher The Diver D 77 Formerly D 111 In G Sharp Minor For Voice Pno sheet music has been read 3796 times. Schubert der taucher the diver d 77 formerly d 111 in g sharp minor for voice pno arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-27 01:48:50. [ Read More ] Schubert Der Taucher The Diver D 77 Formerly D 111 In B Flat Minor For Voice Pno Schubert Der Taucher The Diver D 77 Formerly D 111 In B Flat Minor For Voice Pno sheet music has been read 3752 times.
    [Show full text]
  • The Winterreise Project Annie Shikany, Director Evgenia Truksa and Shiyu Tan, Pianists DIRECTOR’S NOTE
    Friday, December 18, 2020 CLASSICAL VOICE SECOND YEAR PERFORMANCE CLASS presents The Winterreise Project Annie Shikany, Director Evgenia Truksa and Shiyu Tan, Pianists DIRECTOR’S NOTE The Second Year Performance Class is excited to present Müller and Schubert’s masterpiece Winterreise (Winter Journey). Each student is performing a song from the cycle (recorded either on site at MSM or remotely from the students’ individual locations). We explored the song cycle through the lens of the identity of “Fremd” declared in Gute Nacht. Usually translated as “stranger/ foreigner,” the Fremdling is revealed upon deeper investigation to be a foreigner in their own land. We widened the scope of our exploration to include Black and indigenous poets and poets of color—poets of our time— who verbally distill the truth of the Fremdling journey as well as utilize nature and symbolism in the same manner as Müller. Framing Winterreise in this way has created a sense of community within our class as well as expanded our understanding of community as we open our consciousness to the journeys of others and a more complete picture of the human journey. Thank you for your continued support of these young singers and these performance opportunities, which are so important to their exciting journey of artistic growth! Enjoy the show! –Annie Shikany Winterreise, D. 911 Poems by Willhelm Müller Music by Franz Schubert 1. Gute Nacht (“Good Night”) Gavon Mitchell, baritone Putnam Valley, New York Student of Catherine Malfitano Shiyu Tan, pianist A stranger I arrived here, Why should I stay longer a stranger I go hence.
    [Show full text]
  • PERRY Frankie
    9th EUROPEAN MUSIC ANALYSIS CONFERENC E — E U R O M A C 9 Frankie Perry *1 * Royal Holloway, University of London, England 1 [email protected] Seeking Schubert in Aribert Reimann’s Mignon ‘Mignon I’ D. 726 (‘Heiss mich nicht reden’), ‘Sehnsucht’ ABSTRACT D. 310a (‘Nur wer die Sehnsucht kennt’), and ‘Mignon II’, D. 727 (‘So lasst mich scheinen’). The songs unfold consecu- Background tively, each in its original key; Reimann links them with short Adaptations, orchestrations, and reworkings of nine- interludes and bookends the work with a quartet-only intro- teenth-century music by late twentieth and twenty-first cen- duction and postlude in E major, thus placing the pre-existing tury composers pose exciting challenges for musicologists: songs within a new structural and harmonic narrative. The the complex interactions between musical materials, contexts, introductory, closing, and interlude material is largely drawn and authors old and new often evade existing interpretative from another Mignon setting: the harmonically- and textur- frameworks. Since the 1970s, a significant body of such ally-adventurous ‘Sehnsucht’ D. 656 for male voice quintet. re-imaginings of nineteenth-century Lieder has emerged and Two surviving fragments of an abandoned ‘So lasst mich continues to expand, while there was a proliferation of Schu- scheinen’, D. 469 — again characterised by unexpected har- bert-based compositions in the decade of his bicentenary, the monic turns — are also incorporated; unlike the rest of Schu- 1990s, by figures such as Luciano Berio, Hans Zender, Hans bert’s material used, these fragments are transposed up a tone Werner Henze, and Aribert Reimann.
    [Show full text]