000			04143cam a2200469Ii 4500
001			BRILL9789004333994
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005			20260610105049.0
007			cr un uuuua
008			031020s2002 ne a sb 000 0 eng d
010			_a 2003502684
020			_a9789004333994 _q(electronic book)
020			_z9789042008120 _q(print)
024	7		_a10.1163/9789004333994 _2DOI
035			_a(OCoLC)50780558 _z(OCoLC)228123539 _z(OCoLC)711049365
040			_aNL-LeKB _cNL-LeKB _erda
050		4	_aML3849 _b.L58 2002
072		7	_aML _2lcco
072		7	_aJFC _2bicssc
072		7	_aSOC022000 _2bisacsh
082	0	4	_a780/.08 _222
245	0	0	_aLiterature and musical adaptation / _cedited by Michael J. Meyer.
264		1	_aAmsterdam ; _aNew York : _bRodopi, _c2002.
300			_a1 online resource (221 pages) : _billustrations.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _2rdacarrier
490	1		_aRodopi perspectives on modern literature ; _v26
504			_aIncludes bibliographical references.
505	0	0	_tPreliminary Material / _rMichael J. Meyer -- _tIntroduction / _rMichael J. Meyer -- _t“‘A Song not Without Words’: Singing Billy Budd ” / _rMichael J. Meyer -- _tMusic in The Great Gatsby and The Great Gatsby as Music / _rMichael J. Meyer -- _tHenry Purcell and Gerard Manley Hopkins: Two Explorations of Identity / _rMichael J. Meyer -- _t“Something lies beyond the Scene [seen]” of Façade: Sitwell, Walton and Kristeva’s Semiotic / _rMichael J. Meyer -- _t“Dann Sang er”: Das Marienleben from Rilke to Hindemith / _rMichael J. Meyer -- _tPasternak and Tchaikovsky: Musical Echoes in Pasternak’s Blind Beauty / _rMichael J. Meyer -- _tThe Hidden Life: Benjamin Britten’s Homoerotic Reading of Henry James’s The Turn of the Screw / _rMichael J. Meyer -- _tMusical Interpretations of Modernist Literature / _rMichael J. Meyer -- _tWhen Performance Ends: Musicians as Writers / _rMichael J. Meyer -- _tCelan’s “Todesfuge”: The Musical Dimension of a Verbal Composition / _rMichael J. Meyer.
506			_aAvailable to subscribing member institutions only.
520			_aIt can safely be said that when literary texts are utilized or adapted by a musician to create a new work of art, it is seldom that a diminished or lessened product results. Rather, such a merging usually enlarges and enhances both text and tune, perhaps significantly changing the message of the original. Discovering exactly what the new form has to offer and how it relates to the text or melody that preceded it is often a daunting task, requiring a close examination of both the author’s and the composer’s intent. The essays in this collection offer an analysis of several adaptations, some successful, some not so successful, and attempt to assess just what the musicians or writers have modified or changed from to the original as they re-form it into an altogether different media. Ranging from Pasternak’s appropriation of Tchaikovsky to Britten’s operatic versions of Billy Budd and the Turn of the Screw, from Celan’s use of fugal technique in his “Todesfuge” to the way that the musicianship of several women writers found voice in their writing, a broad spectrum of collaborations is examined. As readers examine an author’s respect for a long dead musician (Hopkins’ admiration of Purcell) or as they discover how John Harbison worked to transform Fitzgerald’s musicality in The Great Gatsby, it will be evident that musical adaptations often provide a richness that the originals did not possess and that the potential for greatness is heightened when the arts intersect.
650		0	_aMusic and literature.
650		0	_aLibretto.
650		7	_aLibretto. _2fast
650		7	_aMusic and literature. _2fast
700	1		_aMeyer, Michael J., _d1943-
776	0	8	_iOnline version: _tLiterature and musical adaptation. _dAmsterdam ; New York : Rodopi, 2002 _w(OCoLC)605646481
830		0	_aRodopi Perspectives on Modern Literature _v26.
856	4		_zDOI: _uhttp://dx.doi.org/10.1163/9789004333994
999			_c22541 _d22541