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This constant introduction of new material is most noticeable in musical settings of poems, in contrast to the often used strophic form (AAA). Through-composed songs have different music for each stanza of the lyrics. The German word durchkomponiert is also used to indicate this concept. [2]
An Appointment with Mr Yeats" by The Waterboys is an album of Yeats poems set to song. The poem "Down by the Salley Gardens" was based by Yeats on a fragment of a song he heard an old woman singing. Yeats' words have been recorded as a song by many performers. The song "A Bad Dream" by Keane is based on the poem "An Irish Airman Foresees His ...
La Bonne Chanson, Op. 61, by Gabriel Fauré, is a song cycle of nine mélodies for voice and piano. He composed it during 1892–94; in 1898 he created a version for voice, piano and string quintet. [1] The cycle is based on nine of the poems from the collection of the same name by Paul Verlaine. [2]
When the word ballad appears in the title of a song, as for example in the Beatles' "The Ballad of John and Yoko" (1969) or Billy Joel's "The Ballad of Billy the Kid" (1974), the folk music sense is generally implied. The term ballad is also sometimes applied to strophic story-songs more generally, such as Don McLean's "American Pie" (1971).
By extension, the term "art song" is used to refer to the collective genre of such songs (e.g., the "art song repertoire"). [1] An art song is most often a musical setting of an independent poem or text, [ 1 ] "intended for the concert repertory" [ 2 ] "as part of a recital or other relatively formal social occasion". [ 3 ]
The song is based on Donna Deitch's 1985 film Desert Hearts, which is an adaptation of Rule's novel. [186] "Soma" Is This It: The Strokes: Brave New World: Aldous Huxley: Refers to the fictional drug used in Brave New World. [187] "Song For Clay" A Weekend in the City: Bloc Party: Less than Zero: Bret Easton Ellis [53] "The Stand (Prophecy ...
Dichterliebe, A Poet's Love (composed 1840), is the best-known song cycle by Robert Schumann (Op. 48).The texts for its 16 songs come from the Lyrisches Intermezzo by Heinrich Heine, written in 1822–23 and published as part of Heine's Das Buch der Lieder.
The poem is an intimate treatment of the force of love poetry and song. Schumann's song in strophic form sets each stanza to the same melody, though the final strophe is modified. Schumann sets the words in the first stanza, "Lied, empfind' ich deinen Sinn!" ("Song, I can feel your meaning!"); Sams identifies this motif as a cryptogram for ...