Search results
Results from the WOW.Com Content Network
The origin of the tone poem remains obscure but The Wood Nymph may well have gradually evolved out of music for a verismo opera that Sibelius had planned but never realized. The libretto , as related in a letter from Sibelius dated 28 July 1894, tells the story of a young, engaged student who, while travelling abroad, meets and is attracted by ...
A symphonic poem or tone poem is a piece of orchestral music, usually in a single continuous movement, which illustrates or evokes the content of a poem, short story, novel, painting, landscape, or other (non-musical) source. The German term Tondichtung (tone poem) appears to have been first used by the composer Carl Loewe in 1828.
November Woods, like several other symphonic poems by Bax, is inspired by nature. The composer disavowed any programmatic content, declaring that the work "may be taken as an impression of the dank and stormy music of nature in the late autumn, but the whole piece and its origins are connected with certain rather troublous experiences I was ...
Poetic Diction is a style of writing in poetry which encompasses vocabulary, phrasing, and grammatical usage. Along with syntax, poetic diction functions in the setting the tone, mood, and atmosphere of a poem to convey the poet's intention. Poetic devices shape a poem and its meanings.
Poetry analysis is the process of investigating the form of a poem, content, structural semiotics, and history in an informed way, with the aim of heightening one's own and others' understanding and appreciation of the work. [1] The words poem and poetry derive from the Greek poiēma (to make) and poieo (to create).
A Song of Summer is a tone poem for orchestra by Frederick Delius, completed in 1931. A Song of Summer is derived from an unpublished 1918 symphonic work, originally called Poem of Life and Love. [1] In 1921, Delius told Peter Warlock that he had misplaced most of that score. [2]
While now used to discuss literature, the term tone was originally applied solely to music. This appropriated word has come to represent attitudes and feelings a speaker (in poetry), a narrator (in fiction), or an author (in non-literary prose) has towards the subject, situation, and/or the intended audience.
The tone poems of Richard Strauss are noted as the high point of program music in the latter part of the 19th century, extending its boundaries and taking the concept of realism in music to an unprecedented level. In these works, he widened the expressive range of music while depicting subjects many times thought unsuitable for musical depiction.