Love Poem for London | ScienceGate

Relationships between verse content and. music in the love songs of the Provençal troubadours are not easily defined. One is tempted to seek in these cansos an expressiveness corresponding to our own acceptance of the term and to consider the melodies, like those of a modern art song, to be largely inspired by meanings and emotions of the texts. But it is not at all certain that the establishment of a close sentimental rapport between words and music was an objective overtly recognized and desired by the troubadours: if there were poet-composers who on occasion projected through melody the spirit of a poem, this was by no means a universal occurrence. Authoritative opinion on the subject is difficult to form because so little troubadour music has been preserved. All the more important then to examine carefully the evidence we do possess. Worthy of particular attention are the poets whose melodies remain in sufficient quantity to permit evaluation of individual attitudes and techniques. Such a poet is Peirol, troubadour from Auvergne, who flourished during the Golden Age of Provençal song, cultivating chiefly the love poem. His works provide material of genuine interest, often neglected where it might prove most illuminating. Despite the comparatively large number of melodies, relationships between verse content and music in his cansos have never been studied. To investigate these relationships will therefore be the aim of this paper.

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Love Poem w/Strat

Jackknife ◽

10.2307/j.ctt1kgqt95.61 ◽

2017 ◽

pp. 117-117

Keyword(s):

Love Poem

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Investigating the Materiality of Respiration in Different Media

Beckett's Breath ◽

10.3366/edinburgh/9781474421645.003.0008 ◽

2018 ◽

Author(s):

Sozita Goudouna

Keyword(s):

Respiratory System ◽

Visual Artists ◽

Love Poem ◽

Human Respiratory System ◽

Circular Breathing

The chapter juxtaposes Beckett's Breath with breath-related artworks by prominent visual artists who investigate the far-reaching potential of the representation of respiration by challenging modernist essentialism. The chapter examines the pneumatic readymades by Duchamp, Beuys, Manzoni, Weseler, Navridis' Difficult Breaths, Gary Hill’s Circular Breathing, Kanarinka It Takes 154,000 Breaths to Evacuate Boston, Lygia Clark's Respire Comigo (Breathe with Me), John Latham’s The Big Breather Project, Gabriel Orozco’s Breath on Piano, Giuseppe Penone’s To Breathe The Shadow, Bill Viola’s Fire, Water, Breath, Marina Abramović’s (With Ulay) Breathing In Breathing Out, VALIE EXPORT’s Breath Text: Love Poem so as to investigate points of intersection (connections, linkages, overlaps) between different artistic media (intermediality) and aims to put on view breath’s intrusive actuality and immediacy into the field of representation, by means of an inquiry into the ways that these different aesthetic practices depict the human respiratory system, as the zone of evaporation that separates formlessness from form and life from inertness.

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The Love Poem of Rim-Sîn and Nanaya

Birkat Shalom ◽

10.5325/j.ctv1bxh4jg.56 ◽

2008 ◽

pp. 667-704

Author(s):

Marcel Sigrist ◽

Joan Goodnick Westenholz

Keyword(s):

Love Poem

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