{"status":"ok","message-type":"work-list","message-version":"1.0.0","message":{"facets":{},"total-results":1749817,"items":[{"indexed":{"date-parts":[[2022,3,28]],"date-time":"2022-03-28T23:43:26Z","timestamp":1648511006377},"reference-count":0,"publisher":"Peter Lang","content-domain":{"domain":[],"crossmark-restriction":false},"DOI":"10.3726\/978-3-653-02607-8\/11","type":"book-chapter","created":{"date-parts":[[2016,7,11]],"date-time":"2016-07-11T17:08:41Z","timestamp":1468256921000},"source":"Crossref","is-referenced-by-count":0,"title":["Stereotype(s) of Music in Literature"],"prefix":"10.3726","member":"2030","container-title":["Music in Literature"],"deposited":{"date-parts":[[2016,8,30]],"date-time":"2016-08-30T22:22:39Z","timestamp":1472595759000},"score":19.304878,"resource":{"primary":{"URL":"https:\/\/www.peterlang.com\/view\/9783653998580\/xhtml\/chapter001.xhtml"}},"issued":{"date-parts":[[null]]},"references-count":0,"URL":"https:\/\/doi.org\/10.3726\/978-3-653-02607-8\/11"},{"indexed":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T15:45:34Z","timestamp":1715615134189},"reference-count":0,"publisher":"Edinburgh University Press","isbn-type":[{"value":"9780748693122","type":"print"},{"value":"9781474490979","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2020,4,1]]},"abstract":"

This chapter considers the extent to which the joint discipline of literature and music constitutes a separate area of study. The essay begins with a consideration of the origins of literature and music separately as areas of scholarly study. The modern study of literature is a product of the nineteenth-century devotion to an ideology of moral values. The modern study of music comes from the same period, with a focus on Bildung<\/italic>, the aesthetic and moral development of the modern citizen. The shared focus and historical time period of these areas of study is less suggestive than the fact that literature is always resorting to music, and music is always using literature (the song being the most obvious example). To illustrate how the two disciplines might become one, the essay examines two scenes in literature that involve music: one from David Mitchell\u2019s Cloud Atlas,<\/italic> and another from George Eliot\u2019s Middlemarch<\/italic>.<\/p>","DOI":"10.3366\/edinburgh\/9780748693122.003.0072","type":"book-chapter","created":{"date-parts":[[2022,5,21]],"date-time":"2022-05-21T06:50:04Z","timestamp":1653115804000},"page":"680-689","source":"Crossref","is-referenced-by-count":0,"title":["Origins and Destinations: A Future for Literature and Music"],"prefix":"10.3366","author":[{"given":"Michael L.","family":"Klein","sequence":"first","affiliation":[]}],"member":"1931","published-online":{"date-parts":[[2022,5,19]]},"container-title":["The Edinburgh Companion to Literature and Music"],"original-title":["Origins and Destinations: A Future for Literature and Music"],"language":"en","deposited":{"date-parts":[[2022,7,28]],"date-time":"2022-07-28T16:43:14Z","timestamp":1659026594000},"score":18.35822,"resource":{"primary":{"URL":"https:\/\/academic.oup.com\/edinburgh-scholarship-online\/book\/42227\/chapter\/356353734"}},"issued":{"date-parts":[[2020,4,1]]},"ISBN":["9780748693122","9781474490979"],"references-count":0,"URL":"https:\/\/doi.org\/10.3366\/edinburgh\/9780748693122.003.0072","published":{"date-parts":[[2020,4,1]]}},{"indexed":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T15:45:00Z","timestamp":1715615100367},"reference-count":0,"publisher":"Edinburgh University Press","isbn-type":[{"value":"9780748693122","type":"print"},{"value":"9781474490979","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2020,4,1]]},"abstract":"

This chapter explains why music was so important to English natural philosophers in the seventeenth century and identifies the key scientific literature on the subject. In this period the term \u2018science\u2019 denoted a body of theoretical texts while \u2018experimental philosophy\u2019 was nearer to modern understandings of scientific endeavour, and it is this aspect of musical science that is chiefly focused on here. In his Sylva Sylvarum (1626) Francis Bacon advocated the investigation of music and sound (acoustics), while a decade later in his Harmonie Universelle Marin Mersenne established the musical laws governing pitch and frequency (harmonics). These books had a demonstrable influence on the early activities of the Royal Society, and musical topics soon appeared in its Philosophical Transactions<\/italic>, the first scientific journal to be published. Isaac Newton used his knowledge of Mersenne\u2019s laws to help him mathematise the transmission of sound, light, and planetary motion. Newton also speculated on the division of the colour spectrum into ratios corresponding to the seven notes of the musical scale.<\/p>","DOI":"10.3366\/edinburgh\/9780748693122.003.0015","type":"book-chapter","created":{"date-parts":[[2022,5,21]],"date-time":"2022-05-21T06:48:58Z","timestamp":1653115738000},"page":"161-166","source":"Crossref","is-referenced-by-count":0,"title":["Music and the Literature of Science in Seventeenth-Century England"],"prefix":"10.3366","author":[{"given":"Penelope","family":"Gouk","sequence":"first","affiliation":[]}],"member":"1931","published-online":{"date-parts":[[2022,5,19]]},"container-title":["The Edinburgh Companion to Literature and Music"],"original-title":["Music and the Literature of Science in Seventeenth-Century England"],"language":"en","deposited":{"date-parts":[[2022,7,28]],"date-time":"2022-07-28T16:42:48Z","timestamp":1659026568000},"score":18.29347,"resource":{"primary":{"URL":"https:\/\/academic.oup.com\/edinburgh-scholarship-online\/book\/42227\/chapter\/356349163"}},"issued":{"date-parts":[[2020,4,1]]},"ISBN":["9780748693122","9781474490979"],"references-count":0,"URL":"https:\/\/doi.org\/10.3366\/edinburgh\/9780748693122.003.0015","published":{"date-parts":[[2020,4,1]]}},{"indexed":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T15:45:25Z","timestamp":1715615125280},"reference-count":0,"publisher":"Edinburgh University Press","isbn-type":[{"value":"9780748693122","type":"print"},{"value":"9781474490979","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2020,4,1]]},"abstract":"

Nelson Goodman\u2019s Languages of Art<\/italic>, although little discussed by word-and-music scholars, offers a powerful set of concepts for understanding the relations between music and literature. Goodman addresses the relationship between the arts by considering them in terms of a more general theory of symbolisation, one that foregrounds such apparently mundane tasks as measuring, labelling, sampling, and comparing. Although initially disconcerting, this approach has the advantage of reframing historically intractable questions of musico-literary aesthetics in ways that make them easier to analyse. For example, if music, as a presentational art, does not re-present in the manner of language, how does it convey meaning? Goodman\u2019s answers to such questions are exemplary for their clarity, simplicity, and power. At the heart of Goodman\u2019s theory are his three basic categories of symbolisation: denotation, exemplification, and expression.<\/p>","DOI":"10.3366\/edinburgh\/9780748693122.003.0052","type":"book-chapter","created":{"date-parts":[[2022,5,21]],"date-time":"2022-05-21T06:49:41Z","timestamp":1653115781000},"page":"514-521","source":"Crossref","is-referenced-by-count":0,"title":["Nelson Goodman: An Analytic Approach to Music and Literature Studies"],"prefix":"10.3366","author":[{"given":"Eric","family":"Prieto","sequence":"first","affiliation":[]}],"member":"1931","published-online":{"date-parts":[[2022,5,19]]},"container-title":["The Edinburgh Companion to Literature and Music"],"original-title":["Nelson Goodman: An Analytic Approach to Music and Literature Studies"],"language":"en","deposited":{"date-parts":[[2022,7,28]],"date-time":"2022-07-28T16:43:07Z","timestamp":1659026587000},"score":18.274765,"resource":{"primary":{"URL":"https:\/\/academic.oup.com\/edinburgh-scholarship-online\/book\/42227\/chapter\/356351804"}},"issued":{"date-parts":[[2020,4,1]]},"ISBN":["9780748693122","9781474490979"],"references-count":0,"URL":"https:\/\/doi.org\/10.3366\/edinburgh\/9780748693122.003.0052","published":{"date-parts":[[2020,4,1]]}},{"indexed":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T15:45:26Z","timestamp":1715615126031},"reference-count":0,"publisher":"Edinburgh University Press","isbn-type":[{"value":"9780748693122","type":"print"},{"value":"9781474490979","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2020,4,1]]},"abstract":"

This essay unpacks the relationship between literature and music through the prism of Lyotard\u2019s writings. These offer an exemplary approach to phenomenology of art and to phrasing the intimate and co-determining emergence of literature and music in contemporary society. Literature and poetry are treated together as \u2018literature\u2019, bracketing the complications that come from not making a separation between them. It is proposed that the constitution shared by music and literature can be reduced phenomenologically to a matter of energy. A single undifferentiated flow of energy comes to be invested and cathected in different ways in different art forms, in the process generating their different and characteristic rhythms and tempi. I unpack this claim with reference to Lyotard\u2019s phenomenology of aesthetic events in Postmodern Fables<\/italic>.<\/p>","DOI":"10.3366\/edinburgh\/9780748693122.003.0053","type":"book-chapter","created":{"date-parts":[[2022,5,21]],"date-time":"2022-05-21T06:49:42Z","timestamp":1653115782000},"page":"522-532","source":"Crossref","is-referenced-by-count":0,"title":["Lyotard, Phenomenology and the Shared Paternity of Literature and Music"],"prefix":"10.3366","author":[{"given":"Anthony","family":"Gritten","sequence":"first","affiliation":[]}],"member":"1931","published-online":{"date-parts":[[2022,5,19]]},"container-title":["The Edinburgh Companion to Literature and Music"],"original-title":["Lyotard, Phenomenology and the Shared Paternity of Literature and Music"],"language":"en","deposited":{"date-parts":[[2022,7,28]],"date-time":"2022-07-28T16:43:07Z","timestamp":1659026587000},"score":18.094635,"resource":{"primary":{"URL":"https:\/\/academic.oup.com\/edinburgh-scholarship-online\/book\/42227\/chapter\/356351847"}},"issued":{"date-parts":[[2020,4,1]]},"ISBN":["9780748693122","9781474490979"],"references-count":0,"URL":"https:\/\/doi.org\/10.3366\/edinburgh\/9780748693122.003.0053","published":{"date-parts":[[2020,4,1]]}},{"indexed":{"date-parts":[[2024,5,10]],"date-time":"2024-05-10T02:56:48Z","timestamp":1715309808695},"reference-count":0,"publisher":"Oxford University Press","isbn-type":[{"value":"9780199827251","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"

Music of the American Revolution produced powerful effects. More than a mere backdrop to revolutionary events or a simple reflection of revolutionary spirit, music forged common cause and division, imbued political sentiments with emotional resonance, infused secular and political ideals with sacred and religious overtones, animated ideas about political allegiance, and conveyed a range of contested and evolving national identities. Music also connected Anglo-American colonists to a wider transatlantic culture, was bound up with projects of empire and settler colonialism, spoke to shifting gender ideals, and helped racialize the soundscape of the Revolution. As a topic that cuts across many disciplines, a definitive treatment of music in the American Revolution remains elusive. In fact, beyond debates occurring within specific disciplinary subfields, studies on different aspects of American Revolutionary music are not often in conversation with each other. However, evaluations of 18th-century American music demand attention not only to sound but also to literary practices, performance cultures, and transatlantic connections. Cumulatively, scholars have begun to challenge unduly nostalgic interpretations of music\u2019s contribution to the Revolution. Yet there is still significant opportunity for future studies to adopt more expansive definitions of revolutionary music to better integrate minority musical experiences and expressions into American Revolutionary history. As such, this bibliography includes citations to works that may lack either a strong musical or Revolutionary-era focus to advance research on this vital subject. For example, scholars of music of the African diaspora and Indigenous First Nations typically do not center their narratives on the American Revolution but awareness of their research is essential to build a more accurate and comprehensive understanding of the role of music, songs, and singing in this conflict.<\/p>","DOI":"10.1093\/obo\/9780199827251-0230","type":"reference-entry","created":{"date-parts":[[2021,10,25]],"date-time":"2021-10-25T14:16:50Z","timestamp":1635171410000},"source":"Crossref","is-referenced-by-count":0,"title":["Music of the American Revolution"],"prefix":"10.1093","member":"286","published-online":{"date-parts":[[2021,10,27]]},"container-title":["American Literature"],"original-title":["Music of the American Revolution"],"language":"en","deposited":{"date-parts":[[2021,11,23]],"date-time":"2021-11-23T06:20:40Z","timestamp":1637648440000},"score":17.970001,"resource":{"primary":{"URL":"https:\/\/oxfordbibliographies.com\/view\/document\/obo-9780199827251\/obo-9780199827251-0230.xml"}},"issued":{"date-parts":[[2021,10,27]]},"ISBN":["9780199827251"],"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/obo\/9780199827251-0230","published":{"date-parts":[[2021,10,27]]}},{"indexed":{"date-parts":[[2025,1,7]],"date-time":"2025-01-07T05:18:29Z","timestamp":1736227109440,"version":"3.32.0"},"reference-count":0,"publisher":"Oxford University Press","isbn-type":[{"type":"electronic","value":"9780199840731"}],"content-domain":{"domain":[],"crossmark-restriction":false},"abstract":"

Literature and music have a long entwined history. Since Antiquity, music and poetry (a crystalized form of \u201cliterature\u201d or the \u201cpoetic\u201d) have been regarded as \u201ctwin sisters,\u201d constituting a productive source of creation and inspiration. In the Romantic era (especially German Romanticism), this affinity reached one of its peaks, as demonstrated in the emergence of symbiotic musical-poetic forms and modes of aesthetic expression. From the perspective of cultural history, however, the scope of this relationship is even wider and can be traced back to the overlap between language and music. The compatibility of music and poetry has produced a range of scholarship elaborated in various traditions of knowledge and research disciplines, including semiotics, poetics, aesthetics, musicology, cultural studies, and critical theory. It is well known that sound is a central component of both musical and verbal sign systems. What happens to this sound, however, when we read a story? Moreover, whereas the connection between sounds and poems seems obvious, as shown in the field of research called prosody, which explores various phenomena such as rhythm and alliteration, metric and intonation, the connection between sounds and prose fiction is less obvious. This article focuses on a body of works\u2014theoretical, methodological, and textual\u2014dedicated to the exploration of literature and music relationships in general, in order to understand the relationship between Hebrew literature (including poetry, but mainly prose fiction) and music in particular. Compared to other national literatures, such as French, English, and, above all, German, the scholarly study of Hebrew literature and music is relatively young. Central domains of this study are the employment of sound and acoustic components (i.e., prosody), the incorporation of musical intertexts (i.e., texts that are connected to the realm of music, such as musical terminology, descriptions of music playing, allusions to musical repertoire and themes), and the shaping of analogies between musical forms and narrative structures (i.e., the sonata form or the counterpoint). Hebrew literature also has a history, of course, from the Bible and other ancient texts to medieval Hebrew poetry and up to modern Hebrew and contemporary Israeli literature. Viewing these poetic traditions through the specific lens of language\/literature and music relationships, an emerging field of study dealing with representations of music in modern Hebrew and Israeli prose fiction will be discussed, alongside scholarship on the relationship between Hebrew poetry and music.<\/p>","DOI":"10.1093\/obo\/9780199840731-0196","type":"reference-entry","created":{"date-parts":[[2020,3,25]],"date-time":"2020-03-25T10:50:53Z","timestamp":1585133453000},"source":"Crossref","is-referenced-by-count":0,"title":["Hebrew Literature and Music"],"prefix":"10.1093","author":[{"given":"Michal","family":"Ben-Horin","sequence":"first","affiliation":[]}],"member":"286","published-online":{"date-parts":[[2020,3,25]]},"container-title":["Jewish Studies"],"original-title":["Hebrew Literature and Music"],"language":"en","deposited":{"date-parts":[[2025,1,7]],"date-time":"2025-01-07T04:05:17Z","timestamp":1736222717000},"score":17.848133,"resource":{"primary":{"URL":"https:\/\/oxfordbibliographies.com\/display\/document\/obo-9780199840731\/obo-9780199840731-0196.xml"}},"issued":{"date-parts":[[2020,3,25]]},"ISBN":["9780199840731"],"references-count":0,"URL":"https:\/\/doi.org\/10.1093\/obo\/9780199840731-0196","published":{"date-parts":[[2020,3,25]]}},{"indexed":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T15:45:31Z","timestamp":1715615131563},"reference-count":0,"publisher":"Edinburgh University Press","isbn-type":[{"value":"9780748693122","type":"print"},{"value":"9781474490979","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2020,4,1]]},"abstract":"

Beginning with a brief discussion of the Impressionism\/Symbolism discourse which questioned Debussy\u2019s extra-musical allegiances even before his death, this chapter charts several connections between his music and literature. First comes his early setting of a scene from Diane au bois<\/italic>, an acte en vers<\/italic> by Th\u00e9odore de Banville, and its musical and poetic relationship with Mallarm\u00e9\u2019s L\u2019apr\u00e8s-midi d\u2019un faune<\/italic>, to which Debussy composed his celebrated Pr\u00e9lude<\/italic>. The composer\u2019s one completed opera, Pell\u00e9as et M\u00e9lisande<\/italic>, is approached from the angle of its relationship between music and text, focusing on a recently discovered \u2013 and unusual \u2013 correspondence between Debussy and a critic. Underpinning the chapter is the observation that there is, to date, no complete edition of Debussy\u2019s songs, nor any scholarly study devoted to his text setting.<\/p>","DOI":"10.3366\/edinburgh\/9780748693122.003.0065","type":"book-chapter","created":{"date-parts":[[2022,5,21]],"date-time":"2022-05-21T06:49:58Z","timestamp":1653115798000},"page":"623-631","source":"Crossref","is-referenced-by-count":0,"title":["L E C AS D EBUSSY : Layers of Resonance from Literature into Music"],"prefix":"10.3366","author":[{"given":"Richard Langham","family":"Smith","sequence":"first","affiliation":[]}],"member":"1931","published-online":{"date-parts":[[2022,5,19]]},"container-title":["The Edinburgh Companion to Literature and Music"],"original-title":["L E C AS D EBUSSY : Layers of Resonance from Literature into Music"],"language":"en","deposited":{"date-parts":[[2022,7,28]],"date-time":"2022-07-28T16:43:11Z","timestamp":1659026591000},"score":17.83631,"resource":{"primary":{"URL":"https:\/\/academic.oup.com\/edinburgh-scholarship-online\/book\/42227\/chapter\/356352828"}},"issued":{"date-parts":[[2020,4,1]]},"ISBN":["9780748693122","9781474490979"],"references-count":0,"URL":"https:\/\/doi.org\/10.3366\/edinburgh\/9780748693122.003.0065","published":{"date-parts":[[2020,4,1]]}},{"indexed":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T15:45:29Z","timestamp":1715615129467},"reference-count":0,"publisher":"Edinburgh University Press","isbn-type":[{"value":"9780748693122","type":"print"},{"value":"9781474490979","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2020,4,1]]},"abstract":"

This chapter discusses the aesthetics of music in contemporary novels by Vikram Seth (A Suitable Boy<\/italic> and An Equal Music<\/italic>), Janice Galloway (Clara<\/italic>), Ian McEwan (Amsterdam<\/italic>), Amit Chaudhuri (The Immortals<\/italic>), and Kirsty Gunn (The Big Music<\/italic>). The music featured in these novels ranges from Western classical music (An Equal Music<\/italic>, Clara<\/italic>, and Amsterdam<\/italic>) to North Indian classical music (A Suitable Boy<\/italic> and The Immortals<\/italic>) to classical Scottish bagpipe music (The Big Music<\/italic>). In their own ways, all authors write against the perceived cultural centrality and aesthetic universality of European art music. While Seth in An Equal Music<\/italic>, Galloway, and McEwan undermine the aesthetic ideal of absolute music propounded by Eduard Hanslick, Seth in A Suitable Boy<\/italic>, Chaudhuri, and Gunn appropriate it for Hindustani music as a non-Western classical tradition and ce\u00f2l m\u00f3r as a marginalised Western classical tradition. This, then, marks an act of decentring Western classical music and its self-perceived universal aesthetic validity, and is contrasted with the narrow range of music that E. M. Forster thought worthy of being considered sublime.<\/p>","DOI":"10.3366\/edinburgh\/9780748693122.003.0060","type":"book-chapter","created":{"date-parts":[[2022,5,21]],"date-time":"2022-05-21T06:49:52Z","timestamp":1653115792000},"page":"577-586","source":"Crossref","is-referenced-by-count":0,"title":["Music in Contemporary Fiction"],"prefix":"10.3366","author":[{"given":"Christin","family":"Hoene","sequence":"first","affiliation":[]}],"member":"1931","published-online":{"date-parts":[[2022,5,19]]},"container-title":["The Edinburgh Companion to Literature and Music"],"original-title":["Music in Contemporary Fiction"],"language":"en","deposited":{"date-parts":[[2022,7,28]],"date-time":"2022-07-28T16:43:09Z","timestamp":1659026589000},"score":17.80865,"resource":{"primary":{"URL":"https:\/\/academic.oup.com\/edinburgh-scholarship-online\/book\/42227\/chapter\/356352302"}},"issued":{"date-parts":[[2020,4,1]]},"ISBN":["9780748693122","9781474490979"],"references-count":0,"URL":"https:\/\/doi.org\/10.3366\/edinburgh\/9780748693122.003.0060","published":{"date-parts":[[2020,4,1]]}},{"indexed":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T15:44:55Z","timestamp":1715615095226},"reference-count":0,"publisher":"Edinburgh University Press","isbn-type":[{"value":"9780748693122","type":"print"},{"value":"9781474490979","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2020,4,1]]},"abstract":"

The chapter gives a brief survey of the huge development in liturgical music for the medieval Latin Church from orally transmitted chant in the eighth century to large-scale polyphonic mass composition in the fifteenth. However, it also points to the continued presence of monophonic chant throughout the period. From a modern anthropological point of view, the ceremonies to which the music belonged were rituals. Through appropriation, much of this music has become part also of modern listening practices in entirely different contexts. The appropriation of Roman chant and the beginnings of musical notation under the Carolingians are discussed, along with the rise of new liturgical and devotional musical practices during the following centuries, including what has been termed dramatic liturgy, in particular the Good Friday Adoration of the Cross.<\/p>","DOI":"10.3366\/edinburgh\/9780748693122.003.0007","type":"book-chapter","created":{"date-parts":[[2022,5,21]],"date-time":"2022-05-21T06:48:46Z","timestamp":1653115726000},"page":"63-77","source":"Crossref","is-referenced-by-count":0,"title":["Liturgical Music and Drama"],"prefix":"10.3366","author":[{"given":"Nils Holger","family":"Petersen","sequence":"first","affiliation":[]}],"member":"1931","published-online":{"date-parts":[[2022,5,19]]},"container-title":["The Edinburgh Companion to Literature and Music"],"original-title":["Liturgical Music and Drama"],"language":"en","deposited":{"date-parts":[[2022,7,28]],"date-time":"2022-07-28T16:42:43Z","timestamp":1659026563000},"score":17.766342,"resource":{"primary":{"URL":"https:\/\/academic.oup.com\/edinburgh-scholarship-online\/book\/42227\/chapter\/356348456"}},"issued":{"date-parts":[[2020,4,1]]},"ISBN":["9780748693122","9781474490979"],"references-count":0,"URL":"https:\/\/doi.org\/10.3366\/edinburgh\/9780748693122.003.0007","published":{"date-parts":[[2020,4,1]]}},{"indexed":{"date-parts":[[2024,9,12]],"date-time":"2024-09-12T16:38:50Z","timestamp":1726159130931},"publisher-location":"London","edition-number":"1","reference-count":0,"publisher":"Routledge","isbn-type":[{"type":"electronic","value":"9780367237288"}],"content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2022,4,8]]},"DOI":"10.4324\/9780367237288-10","type":"book-chapter","created":{"date-parts":[[2022,4,8]],"date-time":"2022-04-08T08:48:37Z","timestamp":1649407717000},"page":"85-95","source":"Crossref","is-referenced-by-count":0,"title":["Music in Postcolonial Literature"],"prefix":"10.4324","author":[{"given":"Christin","family":"Hoene","sequence":"first","affiliation":[]}],"member":"301","container-title":["The Routledge Companion to Music and Modern Literature"],"language":"en","deposited":{"date-parts":[[2022,4,8]],"date-time":"2022-04-08T08:48:50Z","timestamp":1649407730000},"score":17.72556,"resource":{"primary":{"URL":"https:\/\/www.taylorfrancis.com\/books\/9780367237288\/chapters\/10.4324\/9780367237288-10"}},"issued":{"date-parts":[[2022,4,8]]},"ISBN":["9780367237288"],"references-count":0,"URL":"https:\/\/doi.org\/10.4324\/9780367237288-10","published":{"date-parts":[[2022,4,8]]}},{"indexed":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T15:45:26Z","timestamp":1715615126035},"reference-count":0,"publisher":"Edinburgh University Press","isbn-type":[{"value":"9780748693122","type":"print"},{"value":"9781474490979","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2020,4,1]]},"abstract":"

This chapter explores the role of music in selected short fictions from the 1920s by Virginia Woolf \u2013 primarily \u2018Moments of Being: \u201cSlater\u2019s Pins Have No Points\u201d\u2019, but also \u2018A Simple Melody\u2019 and \u2018The String Quartet\u2019. The close readings explore music\u2019s influence on some of Woolf\u2019s formal experiments in narrative technique, repetition and the representation of subjectivity, and the relationship between music and the texts\u2019 socio-political vision. The chapter considers, for example, Woolf\u2019s representations of queer desire; the gender politics of music lessons and musical education more widely; and the relationship between commerce and Aestheticism. Identifying parallels between these early creative \u2018diversions\u2019 and Woolf\u2019s later fiction, it suggests some of the principal characteristics of music\u2019s political and aesthetic significance to Woolf\u2019s and other modernist prose.<\/p>","DOI":"10.3366\/edinburgh\/9780748693122.003.0055","type":"book-chapter","created":{"date-parts":[[2022,5,21]],"date-time":"2022-05-21T06:49:45Z","timestamp":1653115785000},"page":"544-551","source":"Crossref","is-referenced-by-count":2,"title":["Music in Woolf\u2019s Short Fiction"],"prefix":"10.3366","author":[{"given":"Emma","family":"Sutton","sequence":"first","affiliation":[]}],"member":"1931","published-online":{"date-parts":[[2022,5,19]]},"container-title":["The Edinburgh Companion to Literature and Music"],"original-title":["Music in Woolf\u2019s Short Fiction"],"language":"en","deposited":{"date-parts":[[2022,7,28]],"date-time":"2022-07-28T16:43:08Z","timestamp":1659026588000},"score":17.642094,"resource":{"primary":{"URL":"https:\/\/academic.oup.com\/edinburgh-scholarship-online\/book\/42227\/chapter\/356352034"}},"issued":{"date-parts":[[2020,4,1]]},"ISBN":["9780748693122","9781474490979"],"references-count":0,"URL":"https:\/\/doi.org\/10.3366\/edinburgh\/9780748693122.003.0055","published":{"date-parts":[[2020,4,1]]}},{"indexed":{"date-parts":[[2024,9,8]],"date-time":"2024-09-08T09:33:16Z","timestamp":1725787996859},"edition-number":"0","reference-count":0,"publisher":"Routledge","isbn-type":[{"type":"electronic","value":"9780203493076"}],"content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2004,3,1]]},"DOI":"10.4324\/9780203493076-8","type":"book-chapter","created":{"date-parts":[[2021,3,5]],"date-time":"2021-03-05T22:59:40Z","timestamp":1614985180000},"page":"55-75","source":"Crossref","is-referenced-by-count":0,"title":["Music and Literature I: Program Music"],"prefix":"10.4324","member":"301","container-title":["Twentieth-Century Chamber Music"],"language":"en","deposited":{"date-parts":[[2021,3,5]],"date-time":"2021-03-05T22:59:44Z","timestamp":1614985184000},"score":17.634672,"resource":{"primary":{"URL":"https:\/\/www.taylorfrancis.com\/books\/9781135887063\/chapters\/10.4324\/9780203493076-8"}},"issued":{"date-parts":[[2004,3,1]]},"ISBN":["9780203493076"],"references-count":0,"URL":"https:\/\/doi.org\/10.4324\/9780203493076-8","published":{"date-parts":[[2004,3,1]]}},{"indexed":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T15:45:24Z","timestamp":1715615124693},"reference-count":0,"publisher":"Edinburgh University Press","isbn-type":[{"value":"9780748693122","type":"print"},{"value":"9781474490979","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2020,4,1]]},"abstract":"

Realism, as the prevailing aesthetic in mid-nineteenth-century Russia, shaped the artistic practice of even those artists who may not have seen themselves as realists. In this regard, the case of Tchaikovsky is particularly instructive. Tchaikovsky\u2019s songs enjoyed considerable popularity; however, C\u00e9sar Cui, for example, denounced them for failing to respect the literary values of the words they set. Tchaikovsky\u2019s views about the ability of music to access a form of truth that lay beyond verbal language might suggest a belief in the fundamental primacy of music over text. His songs play a crucial role in literary, as well as musical, culture, and in some cases are the only known source for otherwise unpublished poetry. He composed songs to his own lyrics, and also wrote poems not intended to be set to music. One of these, \u2018Lilies of the Valley\u2019 (\u2018Landyshi\u2019), was set in part by Arensky, arguably misrepresenting the poem. Tchaikovsky particularly admired the work of the poet Afanasy Fet, comparing him to Beethoven. In the work of Tchaikovsky and of other song-composers of the nineteenth century, music plays a crucial role in the formation and dissemination of the literary canon.<\/p>","DOI":"10.3366\/edinburgh\/9780748693122.003.0049","type":"book-chapter","created":{"date-parts":[[2022,5,21]],"date-time":"2022-05-21T06:49:38Z","timestamp":1653115778000},"page":"476-482","source":"Crossref","is-referenced-by-count":0,"title":["Tchaikovsky\u2019s Songs: Music as Poetry"],"prefix":"10.3366","author":[{"given":"Philip Ross","family":"Bullock","sequence":"first","affiliation":[]}],"member":"1931","published-online":{"date-parts":[[2022,5,19]]},"container-title":["The Edinburgh Companion to Literature and Music"],"original-title":["Tchaikovsky\u2019s Songs: Music as Poetry"],"language":"en","deposited":{"date-parts":[[2022,7,28]],"date-time":"2022-07-28T16:43:06Z","timestamp":1659026586000},"score":17.593952,"resource":{"primary":{"URL":"https:\/\/academic.oup.com\/edinburgh-scholarship-online\/book\/42227\/chapter\/356351565"}},"issued":{"date-parts":[[2020,4,1]]},"ISBN":["9780748693122","9781474490979"],"references-count":0,"URL":"https:\/\/doi.org\/10.3366\/edinburgh\/9780748693122.003.0049","published":{"date-parts":[[2020,4,1]]}},{"indexed":{"date-parts":[[2024,9,8]],"date-time":"2024-09-08T09:33:17Z","timestamp":1725787997745},"edition-number":"0","reference-count":0,"publisher":"Routledge","isbn-type":[{"type":"electronic","value":"9780203493076"}],"content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2004,3,1]]},"DOI":"10.4324\/9780203493076-9","type":"book-chapter","created":{"date-parts":[[2021,3,5]],"date-time":"2021-03-05T22:59:40Z","timestamp":1614985180000},"page":"76-111","source":"Crossref","is-referenced-by-count":0,"title":["Music and Literature II: Vocal Chamber Music"],"prefix":"10.4324","member":"301","container-title":["Twentieth-Century Chamber Music"],"language":"en","deposited":{"date-parts":[[2021,3,5]],"date-time":"2021-03-05T22:59:45Z","timestamp":1614985185000},"score":17.576456,"resource":{"primary":{"URL":"https:\/\/www.taylorfrancis.com\/books\/9781135887063\/chapters\/10.4324\/9780203493076-9"}},"issued":{"date-parts":[[2004,3,1]]},"ISBN":["9780203493076"],"references-count":0,"URL":"https:\/\/doi.org\/10.4324\/9780203493076-9","published":{"date-parts":[[2004,3,1]]}},{"indexed":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T15:45:02Z","timestamp":1715615102246},"reference-count":0,"publisher":"Edinburgh University Press","isbn-type":[{"value":"9780748693122","type":"print"},{"value":"9781474490979","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2020,4,1]]},"abstract":"

This chapter takes issue with the notion of a \u2018music of poetry\u2019 \u2013 an exact equation of poetry\u2019s sonic resources with music \u2013 and its particular crystallisation in the sixteenth century. It discusses some points of tension between music and poetry (rhyme, rhythm, melisma) before turning to apprehend an apparently musical poem, or poetical piece of music, in Shakespeare\u2019s Romeo and Juliet<\/italic>.<\/p>","DOI":"10.3366\/edinburgh\/9780748693122.003.0018","type":"book-chapter","created":{"date-parts":[[2022,5,21]],"date-time":"2022-05-21T06:49:01Z","timestamp":1653115741000},"page":"183-188","source":"Crossref","is-referenced-by-count":0,"title":["Against \u2018the Music of Poetry\u2019"],"prefix":"10.3366","author":[{"given":"Robert","family":"Stagg","sequence":"first","affiliation":[]}],"member":"1931","published-online":{"date-parts":[[2022,5,19]]},"container-title":["The Edinburgh Companion to Literature and Music"],"original-title":["Against \u2018the Music of Poetry\u2019"],"language":"en","deposited":{"date-parts":[[2022,7,28]],"date-time":"2022-07-28T16:42:49Z","timestamp":1659026569000},"score":17.561829,"resource":{"primary":{"URL":"https:\/\/academic.oup.com\/edinburgh-scholarship-online\/book\/42227\/chapter\/356349335"}},"issued":{"date-parts":[[2020,4,1]]},"ISBN":["9780748693122","9781474490979"],"references-count":0,"URL":"https:\/\/doi.org\/10.3366\/edinburgh\/9780748693122.003.0018","published":{"date-parts":[[2020,4,1]]}},{"indexed":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T15:45:29Z","timestamp":1715615129710},"reference-count":0,"publisher":"Edinburgh University Press","isbn-type":[{"value":"9780748693122","type":"print"},{"value":"9781474490979","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2020,4,1]]},"abstract":"

For Beckett, influenced from the outset by Schopenhauer, music always represented a more essential medium than language, one able to overcome the inherent abstractness of the linguistic sign and point the way to a reality beyond the impoverished world of phenomenal experience. An overview of Beckett\u2019s career as seen through the lens of his ongoing experiments with music in his narrative and dramatic works shows how they originate in the high modernist aesthetic he inherited from Joyce and Proust (Dream of Fair to Middling Women<\/italic>, Proust<\/italic>), morph into the experimental comic idiom of his most characteristic works (Watt<\/italic>, the trilogy, Waiting for Godot<\/italic>), and then delve into the increasingly postmodern thematics of unknowability, radical doubt, and fragmentation that characterise his later works (e.g. Cascando<\/italic>, Words and Music<\/italic>, Ghost Trio<\/italic>, Nacht und Tra\u00fcme<\/italic>). Significantly, these works associate music with the glimmer of epistemological hope that saves his work from the ever-present temptation of absolute scepticism or nihilism.<\/p>","DOI":"10.3366\/edinburgh\/9780748693122.003.0058","type":"book-chapter","created":{"date-parts":[[2022,5,21]],"date-time":"2022-05-21T06:49:49Z","timestamp":1653115789000},"page":"565-569","source":"Crossref","is-referenced-by-count":0,"title":["Beckett, Music and the Ineffable"],"prefix":"10.3366","author":[{"given":"Eric","family":"Prieto","sequence":"first","affiliation":[]}],"member":"1931","published-online":{"date-parts":[[2022,5,19]]},"container-title":["The Edinburgh Companion to Literature and Music"],"original-title":["Beckett, Music and the Ineffable"],"language":"en","deposited":{"date-parts":[[2022,7,28]],"date-time":"2022-07-28T16:43:09Z","timestamp":1659026589000},"score":17.538307,"resource":{"primary":{"URL":"https:\/\/academic.oup.com\/edinburgh-scholarship-online\/book\/42227\/chapter\/356352208"}},"issued":{"date-parts":[[2020,4,1]]},"ISBN":["9780748693122","9781474490979"],"references-count":0,"URL":"https:\/\/doi.org\/10.3366\/edinburgh\/9780748693122.003.0058","published":{"date-parts":[[2020,4,1]]}},{"indexed":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T15:45:30Z","timestamp":1715615130913},"reference-count":0,"publisher":"Edinburgh University Press","isbn-type":[{"value":"9780748693122","type":"print"},{"value":"9781474490979","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2020,4,1]]},"abstract":"

\u2018Poetry is a composition of words set to music\u2019 wrote poet (and music critic) Ezra Pound. \u2018Most other definitions of it are indefensible, or metaphysical.\u2019 Taking the troubadours as his example (and the opening quotation is a version of Dante), Pound became evangelist and pivot for a renewed melopoeia, drawing on all music\u2019s resources, rhythm, song, notation, and even pitch. We observe Pound experimenting with typography, and with W. B. Yeats\u2019s prompting fastening on the \u2018inner form\u2019 of the line, the precise rhythmic equivalent of what would become T. S. Eliot\u2019s \u2018objective correlative\u2019. \nLine, motion, form: all could be traced back to rhythm. This central idea that rhythm underlay every art cleared the ground for imagism, vorticism and all Pound\u2019s studies in melopoeia. The Cantos<\/italic> are a transcription of poetry and music; the poem engages not just our ears but our musical sense. This final resounding synaesthesia finds synthesis in the organising principle of the ideograms of written music.<\/p>","DOI":"10.3366\/edinburgh\/9780748693122.003.0061","type":"book-chapter","created":{"date-parts":[[2022,5,21]],"date-time":"2022-05-21T06:49:53Z","timestamp":1653115793000},"page":"586-600","source":"Crossref","is-referenced-by-count":0,"title":["Modernist Poetry and Music: Pound Notes"],"prefix":"10.3366","author":[{"given":"Adrian","family":"Paterson","sequence":"first","affiliation":[]}],"member":"1931","published-online":{"date-parts":[[2022,5,19]]},"container-title":["The Edinburgh Companion to Literature and Music"],"original-title":["Modernist Poetry and Music: Pound Notes"],"language":"en","deposited":{"date-parts":[[2022,7,28]],"date-time":"2022-07-28T16:43:10Z","timestamp":1659026590000},"score":17.475634,"resource":{"primary":{"URL":"https:\/\/academic.oup.com\/edinburgh-scholarship-online\/book\/42227\/chapter\/356352369"}},"issued":{"date-parts":[[2020,4,1]]},"ISBN":["9780748693122","9781474490979"],"references-count":0,"URL":"https:\/\/doi.org\/10.3366\/edinburgh\/9780748693122.003.0061","published":{"date-parts":[[2020,4,1]]}},{"indexed":{"date-parts":[[2026,1,24]],"date-time":"2026-01-24T16:01:06Z","timestamp":1769270466825,"version":"3.49.0"},"reference-count":0,"publisher":"Edinburgh University Press","isbn-type":[{"value":"9780748693122","type":"print"},{"value":"9781474490979","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2020,4,1]]},"abstract":"

Instrumental works of Western \u2018classical music\u2019, especially since the turn of the nineteenth century, are now widely understood to follow narrative models \u2013 to constitute forms of musical narrative. Concert music participated in a general rise in the cognitive value and cultural influence of narrative, understood as a form of knowledge, which has persisted into the twenty-first century, sometimes in the form of a narrative nostalgia working against modernist resistance. Instrumental music supported the rise of narrative by concentrating on the general condition of narrativity instead of the content of any specific narrative. Musical narrativity frequently expressed itself in formal designs that required the construction of narratives in order to be understood \u2013 for example in the \u2018scherzo\u2019 of Brahms\u2019s Fourth Symphony and the slow movement of Tchaikovsky\u2019s Fifth. The result helped foster narrative migration, the remediation of independent features of narrative across art forms, media, and communications technologies.<\/p>","DOI":"10.3366\/edinburgh\/9780748693122.003.0040","type":"book-chapter","created":{"date-parts":[[2022,5,21]],"date-time":"2022-05-21T06:49:27Z","timestamp":1653115767000},"page":"395-404","source":"Crossref","is-referenced-by-count":1,"title":["Music and the Rise of Narrative"],"prefix":"10.3366","author":[{"given":"Lawrence","family":"Kramer","sequence":"first","affiliation":[]}],"member":"1931","published-online":{"date-parts":[[2022,5,19]]},"container-title":["The Edinburgh Companion to Literature and Music"],"original-title":["Music and the Rise of Narrative"],"language":"en","deposited":{"date-parts":[[2022,7,28]],"date-time":"2022-07-28T16:43:01Z","timestamp":1659026581000},"score":17.455492,"resource":{"primary":{"URL":"https:\/\/academic.oup.com\/edinburgh-scholarship-online\/book\/42227\/chapter\/356350944"}},"issued":{"date-parts":[[2020,4,1]]},"ISBN":["9780748693122","9781474490979"],"references-count":0,"URL":"https:\/\/doi.org\/10.3366\/edinburgh\/9780748693122.003.0040","published":{"date-parts":[[2020,4,1]]}},{"indexed":{"date-parts":[[2024,5,13]],"date-time":"2024-05-13T15:45:23Z","timestamp":1715615123603},"reference-count":0,"publisher":"Edinburgh University Press","isbn-type":[{"value":"9780748693122","type":"print"},{"value":"9781474490979","type":"electronic"}],"content-domain":{"domain":[],"crossmark-restriction":false},"published-print":{"date-parts":[[2020,4,1]]},"abstract":"

This chapter is a broad survey of poetry and poets in the nineteenth century thinking about, and writing about, music. Its subjects are principally the representation of music, from Coleridge and Shelley to Thomas Hardy, and the use of musical language to try to express something of what is distinctive not about music itself but about poetry. Examples illustrate the separation of the two arts and the innate impossibility of expressing one in terms of the other. Robert Browning\u2019s dramatic monologues include attempts to translate pieces of music into semantic propositions.<\/p>","DOI":"10.3366\/edinburgh\/9780748693122.003.0047","type":"book-chapter","created":{"date-parts":[[2022,5,21]],"date-time":"2022-05-21T06:49:36Z","timestamp":1653115776000},"page":"452-461","source":"Crossref","is-referenced-by-count":0,"title":["Music in Romantic and Victorian Poetry"],"prefix":"10.3366","author":[{"given":"Francis","family":"O\u2019Gorman","sequence":"first","affiliation":[]}],"member":"1931","published-online":{"date-parts":[[2022,5,19]]},"container-title":["The Edinburgh Companion to Literature and Music"],"original-title":["Music in Romantic and Victorian Poetry"],"language":"en","deposited":{"date-parts":[[2022,7,28]],"date-time":"2022-07-28T16:43:05Z","timestamp":1659026585000},"score":17.404457,"resource":{"primary":{"URL":"https:\/\/academic.oup.com\/edinburgh-scholarship-online\/book\/42227\/chapter\/356351413"}},"issued":{"date-parts":[[2020,4,1]]},"ISBN":["9780748693122","9781474490979"],"references-count":0,"URL":"https:\/\/doi.org\/10.3366\/edinburgh\/9780748693122.003.0047","published":{"date-parts":[[2020,4,1]]}}],"items-per-page":20,"query":{"start-index":0,"search-terms":"Literature+on+music"}}}