Twelve Poems of Emily Dickinson. Voice and Piano

Notes ◽  
1953 ◽  
Vol 11 (1) ◽  
pp. 159
Author(s):  
Irving Fine ◽  
Emily Dickinson ◽  
Aaron Copland
Keyword(s):  
Emily Dickinson ◽  
Voice And Piano

Thirty-Four Songs on Poems of Emily Dickinson; For Voice and Piano

Notes ◽  
1985 ◽  
Vol 42 (2) ◽  
pp. 408
Author(s):  
Neely Bruce ◽  
Arthur Farwell ◽  
Emily Dickinson
Keyword(s):  
Emily Dickinson ◽  
Voice And Piano

Copland's Dickinson Songs

Tempo ◽  
1972 ◽  
pp. 33-37
Author(s):  
Douglas Young
Keyword(s):  
19Th Century ◽  
Song Cycle ◽  
Emily Dickinson ◽  
Art Music ◽  
Charles Ives ◽  
American Composers ◽  
Popular Songs ◽  
Rightful Place ◽  
American Tradition ◽  
Voice And Piano

More than twenty years have passed since the publication of Copland's Twelve Poems of Emily Dickinson, and although the work has been widely praised, it has still to find its rightful place in the repertoire. In several respects it is, indeed, an isolated work. Composed between March 1949 and March 1950, it was Copland's first music for solo voice and piano since 1928, and has remained his only song-cycle (apart from the sets of American popular songs). The choice of poems is unusual; but the genre itself is foreign to the American ‘tradition’. The fact that relatively few American composers have entered this field perhaps reflects a desire to avoid direct comparison with 19th century European models. Charles Ives wrote many songs but no cycles, and the best of them are without musical ancestry (or direct progeny); if influences can be discerned they are from outside the field of ‘art’ music. So it is remarkable that Copland's cycle calls to mind the French mélodie, and particularly Fauré.

Semantic and stylistic aspects of using geographical vocabulary in Emily Dickinson’s verse

2018 ◽  
pp. 95-99
Author(s):  
В. В. Колівошко ◽  
Keyword(s):  
Emily Dickinson ◽  
Unique Color ◽  
Research Questions ◽  
The Individual ◽  
Empirical Methodology ◽  
Qualitative Characteristics ◽  
Individual Style

This article reports a study according to the tenets of empirical methodology in addressing research questions. The project tests the principles of using geographical vocabulary in Emily Dickinson’s verse. It focuses on the study of stylistic and semantic aspects of the usage of geographical vocabulary. The results demonstrate the quantitative and qualitative characteristics of the usage of geographical vocabulary. Emily Dickinson’s poems are full of geographical names, which she uses with both positive and negative connotations. As we can see, the negative connotations prevail. The results point out how Emily Dickinson manipulates geographical names at all levels of the language. In addition, the findings indicate specific color gamma of Emily Dickinson’s poems. The use of colors is different for each geographical object; especially it applies to the names of countries, towns etc. Emily Dickinson associates every continent with its own unique color. These findings demonstrate the individual style of Emily Dickinson, which is distinctive among other poets.

The Poetics of American Civil War Sacrifice

2018 ◽  
Author(s):  
Randall Fuller
Keyword(s):  
Civil War ◽  
Herman Melville ◽  
Walt Whitman ◽  
Body Politic ◽  
Emily Dickinson ◽  
American Civil War ◽  
The Body ◽  
The Sacrifice

The nature and meaning of sacrifice were fiercely contested in the aftermath of the American Civil War. Historians have documented a long struggle by veterans to ensure the continuing remembrance of their sacrifice. At the same time, American politicians tended to demur from acknowledging these sacrifices, as doing so would reopen the rift that had prompted war in the first place. This chapter probes the work of three Civil War poets—Emily Dickinson, Herman Melville, and Walt Whitman—to uncover the meaning of sacrifice during and after the war. Dickinson’s verses about psychic pain and dislocation are increasingly understood as simultaneous expositions of the personal and political: Melville’s knotty, multi-perspectival poems about the war, Battle-Pieces, question the ideological freight of sacrifice, and Whitman sought to honour the sacrifice of soldiers through a poetics he hoped would heal the body politic. Ultimately only Whitman’s consolatory poetry would find a postwar audience.

NOTES ON TWO POEMS BY EMILY DICKINSON

1966 ◽  
Vol 13 (9) ◽  
pp. 342-343
Author(s):  
SIMON TUGWELL
Keyword(s):  
Emily Dickinson
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