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[insert] boy is a 2014 debut poetry collection by Danez Smith, published by YesYes Books. [1] The book won the Lambda Literary Award for Gay Poetry and the Kate Tufts Discovery Award . [ 2 ] [ 3 ]
The Theory and Technique of Electronic Music (2007) Max (software), Pure Data: Philip Ewell: born 1966 Music Theory and the White Racial Frame (2020) Race in music, Russian and twentieth century music, as well as rap and hip hop [218] Ellie Hisama: Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon (2007)
The personal nature of many of the verses of the Nine Lyric Poets led to the present sense of "lyric poetry" but the original Greek sense of "lyric poetry"—"poetry accompanied by the lyre" i.e. "words set to music"—eventually led to its use as "lyrics", first attested in Stainer and Barrett's 1876 Dictionary of Musical Terms. [5]
The 1918 version of the sheet music with Weatherly's printed signature included alternative lyrics ("Eily Dear"), with the instructions that "when sung by a man, the words in italic should be used; the song then becomes "Eily Dear", so that "Danny Boy" is only to be sung by a lady".
A Wikipedia article on lyrics or poetry should have an analytical framework that describes the song and its cultural impact. This page discusses how they should be written. For how lyrics and poetry should be displayed, see: Wikipedia:WikiProject Poetry#Style for quoting from poems. Foremost, copyrights should be respected.
RILM Music Encyclopedias (RME) is an electronic collection of music reference works from 1775 to the present from Répertoire International de Littérature Musicale. RME expands every year by three to five titles.
The lyric poetry of Europe in this period was created by the pioneers of courtly poetry and courtly love largely without reference to the classical past. [11] The troubadors, travelling composers and performers of songs, began to flourish towards the end of the 11th century and were often imitated in successive centuries.
For the New York Times poetry critic writing in 1931, it is a specimen of the "pure poetry" of the age that "cannot endure" because it is a "stunt" in the fantastic and the bizarre. [6] "Turning of music into words, and words into music, continues throughout the poem," according to Janet Mcann, "becoming metaphor as well as genuine verbal music."