Heine-Jahrbuch, Bände 15-16Hoffmann und Campe., 1976 |
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Seite 23
... musical elements of its own even before a composer sets it to music.14 But he appears to assume implicitly that 1 ) these musical elements are strictly analogous to ( though more restrained than ) those of music itself , 2 ) sound and ...
... musical elements of its own even before a composer sets it to music.14 But he appears to assume implicitly that 1 ) these musical elements are strictly analogous to ( though more restrained than ) those of music itself , 2 ) sound and ...
Seite 43
... musical . Still , in calling harshness , dissonance , polysyllables , and consonant clusters musical , he is stressing the dynamic quality of verse its potentialities for reflecting tension - and that is clearly musical . I believe it ...
... musical . Still , in calling harshness , dissonance , polysyllables , and consonant clusters musical , he is stressing the dynamic quality of verse its potentialities for reflecting tension - and that is clearly musical . I believe it ...
Seite 44
... musical know- ledge in musical poets may be " statistically significant " , as Frye puts it ) . Frye sees continuity and stress accent as the most important requisites for musicality in poetry . We have seen in Heine's poetry the ...
... musical know- ledge in musical poets may be " statistically significant " , as Frye puts it ) . Frye sees continuity and stress accent as the most important requisites for musicality in poetry . We have seen in Heine's poetry the ...
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Abschnitt 2 | 5 |
Abschnitt 3 | 11 |
Urheberrecht | |
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