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The modern sound: American poetry an...
~
Reini-Grandell, Lynette Eileen.
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The modern sound: American poetry and the rise of the recording industry, 1920-1940.
紀錄類型:
書目-電子資源 : Monograph/item
正題名/作者:
The modern sound: American poetry and the rise of the recording industry, 1920-1940./
作者:
Reini-Grandell, Lynette Eileen.
面頁冊數:
239 p.
附註:
Source: Dissertation Abstracts International, Volume: 53-06, Section: A, page: 1916.
Contained By:
Dissertation Abstracts International53-06A.
標題:
Literature, American. -
電子資源:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9231073
The modern sound: American poetry and the rise of the recording industry, 1920-1940.
Reini-Grandell, Lynette Eileen.
The modern sound: American poetry and the rise of the recording industry, 1920-1940.
- 239 p.
Source: Dissertation Abstracts International, Volume: 53-06, Section: A, page: 1916.
Thesis (Ph.D.)--University of Minnesota, 1992.
This item must not be sold to any third party vendors.
Music and poetry have long been considered sister arts. The technology of sound recording added a new dimension to this relationship. In one respect, it made certain types of music accessible and therefore influential to a wider audience. At the same time, however, as recorded sound became increasingly identified with popular culture, value of music as a literary influence seemed to diminish.Subjects--Topical Terms:
1017657
Literature, American.
The modern sound: American poetry and the rise of the recording industry, 1920-1940.
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Source: Dissertation Abstracts International, Volume: 53-06, Section: A, page: 1916.
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Major Advisers: John Wright; Philip Furia.
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Thesis (Ph.D.)--University of Minnesota, 1992.
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Music and poetry have long been considered sister arts. The technology of sound recording added a new dimension to this relationship. In one respect, it made certain types of music accessible and therefore influential to a wider audience. At the same time, however, as recorded sound became increasingly identified with popular culture, value of music as a literary influence seemed to diminish.
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The first chapter traces developing theories about the relationship between poetry, music, and pure sound, discussing the use of music to locate a work in a particular cultural tradition, the semantic meanings of rhythm, and the implication of the body in rhythmic sounds.
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The second chapter describes the rise of the recording industry and the literati's reaction to it from Edison's invention of the phonograph to the growth of radio. The phonograph as an agent of mediocre technology is a strong theme in literary references to it.
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The history of spoken work recordings is chronicled in the third chapter. The practice of a poet making a recording of him or herself reading was a surprisingly late development, not becoming widespread until the 1930s and 1940s.
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Chapter four analyzes Langston Hughes' and Sterling Brown's reactions to sound recordings. Both saw recordings as a way of preserving the oral and musical traditions of their culture. Hughes was influenced by the popularity of jazz, blues, and the commercial successes of Black entertainers. Brown, however, saw the commercial scene as a distortion of Black culture. He became involved in the folklore community, utilizing less commercial recordings as a means of maintaining contact with the folk element.
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Chapter five examines Marianne Moore's and William Carlos Williams' reactions to sound recordings. Musical and spoken word recordings encouraged both to abandon older verse forms in favor of verse based on the subtler, irregular rhythms of speech. This is evident in their own early recordings, where Williams reads quickly, almost like a Beat poet, and Moore reads softly, with pauses, as if delivering a series of whispered phrases.
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