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A symphonic poem may stand on its own (as do those of Richard Strauss), or it can be part of a series combined into a symphonic suite or cycle. For example, The Swan of Tuonela (1895) is a tone poem from Jean Sibelius's Lemminkäinen Suite, and Vltava (The Moldau) by Bedřich Smetana is part of the six-work cycle Má vlast.
For example, novels with a horror theme can have previously calm, uninvolved individuals coming upon an extreme situation, such as violence involving the supernatural, growing more and more passionate in a way that turns the entire writing increasingly emotional. Official and technical documentation tends to employ a formal tone throughout the ...
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.
The use of specific words in the poem serve to create a tone—an attitude taken towards the subject. For example, consider the words "slither" and "sneak." When used in a poem, the words conjure up images of a snake. The sibilant s sound reinforces the image. The connotations of the words suggest something surreptitious and undercover.
Tone Poems may refer to: Symphonic poem, a form of orchestral composition; 3 Tondikter (3 Tone Poems), by Wilhelm Peterson-Berger; Tone poems (Strauss), group of works by Richard Strauss; Three Tone Poems, by Charles Tomlinson Griffes; Tone Poems, by Michael Glenn Williams; Tone Poems, by Dave Grisman and Tony Rice
Poetry (from the Greek word poiesis, "making") is a form of literary art that uses aesthetic and often rhythmic [1] [2] [3] qualities of language to evoke meanings in addition to, or in place of, literal or surface-level meanings. Any particular instance of poetry is called a poem and is written by a poet.
An elegy is a poem of serious reflection, and in English literature usually a lament for the dead. However, according to The Oxford Handbook of the Elegy, "for all of its pervasiveness ... the 'elegy' remains remarkably ill defined: sometimes used as a catch-all to denominate texts of a somber or pessimistic tone, sometimes as a marker for textual monumentalizing, and sometimes strictly as a ...
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.