Download From Song to Print: Romantic Pseudo-Songs by T. Hoagwood PDF

By T. Hoagwood

From track to Print is a examine of the key cultural transition from oral different types of artwork and discourse to the industrial tradition of print that occurred in the course of the commercial Revolution. via a dialogue of historic musical types (classical, biblical, and early-modern poetry of song), this e-book explores the typographical simulation of song and oral poetry through the 19th century. unique and leading edge, this paintings exhibits how the musical writings of Romantic poets, resembling Wordsworth, Coleridge, Byron, and Keats, evoke vintage cultures and old settings whereas providing a critique in their personal imitative kinds and the fashionable, advertisement context within which they appear. 

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Extra resources for From Song to Print: Romantic Pseudo-Songs (Nineteenth-Century Major Lives and Letters)

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Is so closely connected with the art of music, that an alliance between these two fine arts is very soon closely formed” (1: 4). The controversy over the social and political status of medieval minstrels is important for the political themes of the Minstrelsy. On this set of issues, Scott agrees largely with the views of the conservative Percy “as qualified in the fourth edition of his Essay” (30). 15 Percy prepared that fourth edition in 1794, when the Burkean “spirit of chivalry” was controversial while the Treason Trials were going forward in London.

3 In Blake’s poem, the invention of writing is a matter of imposition of laws carved in stone. ”4 In his own voice as well as his poems, Blake writes that “the Creator of this World is a very Cruel Being,”5 preemptive and imperialistic enough to shout his territorial imperative “Even from the depths of Hell” (Jerusalem, plate 3). ” If the art of writing is a cruel imposition, then Blake’s saying so, paradoxically by printing his “types,” is among his means of resistance. Like Blake, Ong is self-conscious about the fact that he writes critically about writing.

Scott writes that ancient Celtic music and poetry were changed, in Scotland, by the advent of literacy and by the widespread adoption of the English language in Scotland. He observes that “of manuscript records of ancient ballads, very few have been yet discovered,” and that “it is probable that the minstrels, seldom knowing either how to read or write, trusted to their well-exercised memories” (1: 21). The modern collections of ballads include works in “imitation of the ancient ballad” (1: 25).

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