Sökning: "Song Lu"
Visar resultat 6 - 10 av 26 avhandlingar innehållade orden Song Lu.
6. Cornelis Vreeswijk. Artist - vispoet - lyriker
Sammanfattning : The six chapters of this study approach the work of Cornelis Vreeswijk from different perspectives with an emphasis on the motifs, poetic technique, and intertextuality of individual songs amd Iyrical texts. Vreeswijks s work is interpreted in the context of contemporary history and debate, the cultural tradition to which it belongs and important events in the author's life. LÄS MER
7. Fire, Poison, and Black Tears : Metaphors of Emotion in Rebétiko
Sammanfattning : This dissertation is a study of metaphors of emotion in rebétiko song texts. Rebétiko is a major popular-music style of modern Greece, consisting mostly of melancholic songs full of sorrow, disappointment, and misfortune, as well as passion and romance, but also of cheerful songs of revelry and a carefree attitude to life. LÄS MER
8. Enthusiasm, Contemplation, and Romantic Longing : Reconsidering Schubert's Sectional Songs in the Light of Historical Context
Sammanfattning : In twentieth-century music scholarship, those of Franz Schubert’s songs from the 1810s that form sectional musical structures have normally been presented as being unfortunately dependent on aesthetically disparaged eighteenth-century models. Authors have often treated these songs succinctly, preferring instead to invest their energy in the “masterworks” of Schubert’s later years. LÄS MER
9. Dylan i 60-talet. Tematiken i Bob Dylans sångtexter och dikter 1961-67
Sammanfattning : Bob Dylan (b. 1941) became known as an enfant terrible and a regenerator of rock lyrics already in the tumultuous 60´s. His constantly shifting roles as musician and songwriter, combined with his notable reserve, have led to the growth of a plethora of myths surrounding his person and work. LÄS MER
10. Teatermusikaliska ljudhändelser. Ett bidrag till studiet av musik och angränsande ljudobjekt i talteater och opera
Sammanfattning : This dissertation focuses primarily on the following aspects concerning music in theatre: 1) its experienced peculiarity – ontologically grounded, 2) its sounding scope, and 3) its various kinds of functions. I argue that the difference between spoken theatre and opera is a question of degree rather than essence, and consider such an assertion being especially valid for the music of these genres. LÄS MER
