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- W2047618397 abstract "LANGUAGE and literature played a vital role in the development of nineteenth-century music. Th ir role, however, was greater in the music of northern than in that of southern Europe throughout that century, as it had been earlier. That northerners traditionally preferred syllabic text setting with its greater verbal intelligibility over melismatic or florid vocal music, fancied by the Latin peoples, is well known. Many examples spring to mind from the Middle Ages, when northern singers added words to convert melismatic passages of Gregorian chant into syllabic passages, to Gluck and Wagner, who strove to banish coloratura from their operas. This bias persisted and waxed in the later nineteenth century. Accepting theories that music had its origins in language, German composers highlighted language by shaping their vocal lines in accord with speech inflections, while singers developed that word-bound style of singing known as Sprechgesang, notable for its crisp and chiseled enunciation. Radical late romantics went still further: they revived the melodrama in order to achieve the highpoint in music of verbal intelligibility, for the melodrama, a genre that by definition combines spoken texts with music, conveys language with utmost clarity. The melodrama had been created by Rousseau partly as a means of bringing a greater degree of realism to music.' It flourished for a" @default.
- W2047618397 created "2016-06-24" @default.
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- W2047618397 date "1976-01-01" @default.
- W2047618397 modified "2023-09-26" @default.
- W2047618397 title "THE JOINING OF WORDS AND MUSIC IN LATE ROMANTIC MELODRAMA" @default.
- W2047618397 doi "https://doi.org/10.1093/mq/lxii.4.571" @default.
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