東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

From poet's voice to composer's muse...

Reinhardt, Lauriejean.

FindBook

Google Book

Amazon

博客來

From poet's voice to composer's muse: Text and music in Webern's Jone settings.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	From poet's voice to composer's muse: Text and music in Webern's Jone settings./
作者:	Reinhardt, Lauriejean.
面頁冊數:	573 p.
附註:	Source: Dissertation Abstracts International, Volume: 56-07, Section: A, page: 2478.
Contained By:	Dissertation Abstracts International56-07A.
標題:	Literature, Germanic. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9538492

From poet's voice to composer's muse: Text and music in Webern's Jone settings.
Reinhardt, Lauriejean.

From poet's voice to composer's muse: Text and music in Webern's Jone settings. - 573 p.

Source: Dissertation Abstracts International, Volume: 56-07, Section: A, page: 2478.

Thesis (Ph.D.)--The University of North Carolina at Chapel Hill, 1995.

This study examines the creative friendship between Anton Webern and the poet/painter Hildegard Jone. The primary objective of the study is two-fold: (1) to view Jone's poetry and Webern's Jone settings through the lense of early twentieth-century Austrian culture; and (2) to consider the ways in which Webern's music relates to Jone's poetry. The study draws on archival materials pertaining to both artists, including primary sources that have only recently been made available.Subjects--Topical Terms:

1019072
Literature, Germanic.

From poet's voice to composer's muse: Text and music in Webern's Jone settings.
LDR:03246nam 2200313 4500 001 1401216
005 20111021125404.5
008 130515s1995 ||||||||||||||||| ||eng d
035 $a (UMI)AAI9538492
035 $a AAI9538492
040 $a UMI $c UMI
100 1 $a Reinhardt, Lauriejean. $3 1680338
245 1 0 $a From poet's voice to composer's muse: Text and music in Webern's Jone settings.
300 $a 573 p.
500 $a Source: Dissertation Abstracts International, Volume: 56-07, Section: A, page: 2478.
500 $a Adviser: Thomas Warburton.
502 $a Thesis (Ph.D.)--The University of North Carolina at Chapel Hill, 1995.
520 $a This study examines the creative friendship between Anton Webern and the poet/painter Hildegard Jone. The primary objective of the study is two-fold: (1) to view Jone's poetry and Webern's Jone settings through the lense of early twentieth-century Austrian culture; and (2) to consider the ways in which Webern's music relates to Jone's poetry. The study draws on archival materials pertaining to both artists, including primary sources that have only recently been made available.
520 $a The opening chapters establish a profile of Jone as an artist. Chapter 1 sketches Jone's biography and discusses her activities as a painter. Chapter 2 considers Jone's career as a poet, focusing on her working methods, publication history and aesthetics and examining representative poems. Chapter 3 discusses Jone's creative relationship with Webern in light of the correspondence; the issue of collaboration is discussed with regard to Webern's Kantate op. 31/VI.
520 $a Chapters 5 through 8 focus on Webern's Jone settings, with an emphasis on the insights afforded by the primary sources. Chapter 5 offers an overview of the sources, including literary materials, sketchbooks, row tables, short scores and fair copies. Chapters 6 through 8 discuss the evolution and style of Webern's first Jone settings; more specifically, they examine the curious relationship between Webern's Drei Gesange op. 23 and a texted fragment found in the sketches for the Konzert op. 24. Careful analysis of the sketches reveals important interconnections between the histories and musical languages of the two compositions. The relevance of these interconnections to the Drei Lieder op. 25 and Das Augenlicht op. 26 are also discussed.
520 $a Chapter 9 explores the broader ramifications of Webern's creative relationship with Jone. In particular, the chapter considers why Webern turned to Jone's poetry for his mature, twelve-tone works by noting similarities in the artists' responses to the events of World War I, the cultural climate of the First Austrian Republic and the advent of World War II. Three issues identified as central to Webern's interest in Jone's poetry are the artists' mutual belief in art as language, their shared understanding of their relationship to the past, and their belief in the spiritual nature of art.
590 $a School code: 0153.
650 4 $a Literature, Germanic. $3 1019072
650 4 $a Art History. $3 635474
650 4 $a Music. $3 516178
690 $a 0311
690 $a 0377
690 $a 0413
710 2 $a The University of North Carolina at Chapel Hill. $3 1017449
773 0 $t Dissertation Abstracts International $g 56-07A.
790 1 0 $a Warburton, Thomas, $e advisor
790 $a 0153
791 $a Ph.D.
792 $a 1995
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9538492