It was first published in 1867 in the collection New Poems, but surviving notes indicate its composition may have begun as early as 1849. The superficial sounding world is but one aspect and cannot capture music's real essence, that being something of a spiritually oriented origin.This article is about the poem. If we are to redefine Music-Theory for the modern decade, it would be wise to more accurately point out where our understanding of 'analysis' has failed us, and what needs to occur for Theory to more closely relate to the 'life' it was birthed from and into. Using Rimsky-Korsakov's revolutionary opera 'Kashchey The Deathless,' I attempted to highlight a new approach to the natural process of hearing and the Scholar's want to 'know', in what I call a Neo-Music Theory process. A reliance on self-interpretation only gets the interested party so far until they. What does it mean to 'hear' as an informed listener, a 'conscious contemplator', an intuitive observer of 'life in sounding'? When one is privy to the personification of socio-cultural activity in the intonational art form, only then can one allow themselves to be conscious of the composer's true intentions. Despite and Still could be a culmination of Barber’s inferiority complex mentally conceived after the supposed degradation of his musical In my research project, I attempt to identify the White Goddess traits within Barber’s output, transmuted from strictly Muse worship to the expansion of his melancholic tendencies and a trajectory of an all-consuming internal and upward path. Robert Grave’s theory of Goddess worship as the primary incentive behind all the poet’s formation of poetic output is supposedly detectable through lyrical themes of nature, spirituality, and women (although Graves does not explicitly specify aspects of detectable Goddess worship traits in poetry). All three poets share stylistic similarities that establish an interconnectedness with Barber’s mental state during the compositional years of Despite and Still, thus contributing to the certainty that the usage of these poets was a deliberate choice on the part of Barber. Intertwined within the song cycle, for me, is a transfigured usage of the White Goddess concept, induced by the usage of poetry by Robert Graves, James Joyce, and Theodore Roethke. 41 is characterized as ‘musical therapy’ by Barbara Heymann, ‘emotionally distant’ by a reviewer, his’ ’ final defense against his Romantic style.’ Within this five-song cycle is the truthful predicament of his ‘melancholy’ character, and the elusive of his emotional state is stridently stripped away due to Barber’s perceived failure of his opera, Antony and Cleopatra.
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