scholarly journals The Semantics of Death Image in “Madrigals” Supercycle by George Crumb

2014 ◽  
pp. 49-56
Author(s):  
Vladislav O. Petrov
Keyword(s):  
Song Cycle ◽  
Federico Garcia Lorca ◽  
Semantic Meaning ◽  
George Crumb ◽  
American Composer

Considers a unique song cycle of the postmodern epoch - “Madrigals” by American composer George Crumb. The author addresses the semantic meaning of Death image in particular and reveals parallels in its representations by the composer and by Federico García Lorca. It is argued that Crumb used particular phrases of the Spanish poet and dramatist to create the original dramaturgy that deepened the tragic death imaging.

American Composer Sketches: George Crumb

1967 ◽  
Vol 53 (8) ◽  
pp. 61 ◽  
Author(s):  
Charles B. Fowler
Keyword(s):  
George Crumb ◽  
American Composer

Sonorism

Artful Noise ◽  
2020 ◽  
pp. 136-145
Author(s):  
Thomas Siwe
Keyword(s):  
United States ◽  
Twentieth Century ◽  
The United States ◽  
Relaxed Controls ◽  
Avant Garde ◽  
George Crumb ◽  
The Arts ◽  
American Composer ◽  
Tone Color ◽  
Media Work

In this chapter, the use by twentieth-century composers of tone color, or timbre is explained with examples by those who made its use central to their compositional output. Poland, freed from the bonds of communism and the Soviet state, relaxed controls over the arts and in 1956 initiated the Warsaw Autumn festival where avant-garde Polish and Western music could be heard. Kazimierz Serocki cofounded the festival, contributing to the percussion canon his timbre-based sextet, Continuum. In the United States, the American composer George Crumb definitely had an ear for timbre coupled with a love for percussion evident in the works discussed. A young Polish/American composer, Marta Ptaszynska, created a number of works for both solo and ensemble percussion in the latter half of the century. Her work Siderals was conceived as an audio-visual, or mixed-media work utilizing ten percussionists, magnetic tape playback, and lighting. The three composers highlighted in this chapter approached the use of timbre in differing ways.

Iconic Books from Below

2012 ◽  
Vol 6 (1-3) ◽  
pp. 185-200
Author(s):  
Dorina Miller Parmenter
Keyword(s):  
Evangelical Christianity ◽  
Semantic Meaning ◽  
High Church

Investigating the Christian Bible as “America’s Iconic Book” (following Marty 1982) reveals that this icon is generated and maintained not only through lofty theology and high church rituals, but also through mundane and often invisible biblical practices. By examining how people engage with their personal Bibles, scholars can better understand how status and authority is generated not only through semantic meaning, but also through material and embodied actions. This article looks at one example of this in contemporary American Evangelical Christianity: the display of worn-out Bibles and the discourses that surround the phenomena of duct-taped Bibles.

Looking at Words

2012 ◽  
Vol 6 (1-3) ◽  
pp. 67-82 ◽  
Author(s):  
S. Brent Plate
Keyword(s):  
Print Culture ◽  
Semantic Meaning ◽  
Sacred Texts ◽  
Words And Images ◽  
The Way

Regardless of their semantic meaning, words exist in and through their material, mediated forms. By extension, sacred texts themselves are material forms and engaged in two primary ways: through the ears and eyes. This article focuses on the visible forms of words that can stir emotional and even sacred responses in the eyes of their beholders. Thus words can be said to function iconically, affecting a mutually engaging form of "religious seeing." The way words appear to their readers will change the reader's interaction, devotion, and interpretation. Examples range from modern popular typography to European Christian print culture to Islamic calligraphy. Weaving through the argument are two key dialectics: the relation of words and images, and the relation of the seen and the unseen.

Federico García Lorca : un pequeño texto olvidado

1966 ◽  
Vol 68 (1) ◽  
pp. 116-117
Author(s):  
Ian Gibson
Keyword(s):  
Federico Garcia Lorca
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