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In the fixed-tone pattern type of verse, poems were written according to preexisting models known as "tunes". This was the case with the ci and the qu: an individual poem was written so that its tone pattern (and line lengths) were the same as one of the model types, the poetic variation was in the change in the particular wording of the lyrics.
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.
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.
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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.
The Lemminkäinen Suite, or more correctly Four Legends from the Kalevala, Op. 22, is a sequence of four tone poems for orchestra completed in 1896 by the Finnish composer Jean Sibelius. The work was conceived as Veneen luominen (The Building of the Boat), an opera with a mythological setting, before taking its form as a suite.
Rhythmical language in poetry is one of the ways we can see the tendency of poems towards a high degree of organization — there tends to be far more emphasis on rhythm in poetry than in prose. Verse, a specialized form of rhythm in language, is one of the elements that, when related to other elements in a poem, combines to form poetry.
The concept of a work's tone has been argued in the academic context as involving a critique of one's innate emotions: the creator or creators of an artistic piece deliberately push one to rethink the emotional dimensions of one's own life due to the creator or creator's psychological intent, which whoever comes across the piece must then deal ...