Thesis--Universitet Stockholms, 1957. / Includes bibliographical references (leaves 462-467) and index.

Thesis--University of Illinois. / Vita. Includes musical suppl. (leaves 295-372) which contains works by Swelinck, Richard Machin, Robin Jones, William Brown, J.V.D. Hove, and others. Includes bibliographical references.

This thesis must be regarded as an outline, rather than an exhaustive study, of the inter-relationship of music and poetry during the Middle Ages (that is, from the middle of the twelfth to the end of the fifteenth century). It is always difficult to set limits for creative movements and, when they have been set, to justify them and to work consistently within them, for one cannot make definite divisions between movements, nor confine trends of thought and creative impulse within the boundaries of a definite space of time. The year 1150 was chosen as the first limit of this essay because little in English has come down to us from the first half of the century, and the small amount that has, belongs to the Old English rather than the Middle English tradition. Since medieval and renaissance trends overlapped each other throughout the entire fifteenth century the terminal limit (1500) had to be chosen arbitrarily. The adoption of 1500 has more than the convenience of a round number to recommend it, however, for most of the literature of the fifteenth century belongs to the Middle English tradition; even those developments at the end of the century which look forward to the renaissance are not of such a revolutionary character that they cannot he considered as still part of medieval literature. While music shows some analogies with all its sister arts, it is the art of poetry that it resembles most. The present work, therefore, deals primarily with the characteristics of the form and style of medieval music (special emphasis being given to the music of the church) and its influence on poetic forms like the lyric and liturgical drama. The main contention of the thesis is that, during the monodic period of music, the two arts were completely dependent on one another. With the development of polyphony, however, music became so intricate that it could no longer be used as a vehicle for words. The old union of poetry and music was gone, never to return in quite the same way again. Although it is true that music and poetry came together for a brief period in the Elizabethan Age it was not the same kind of unity. In the renaissance, music and poetry were two mature arts that enhanced one another; either one could be enjoyed without the other, but, in the Middle Ages, (that is, the period in which monodic music flourished) neither the music nor the poetry was complete in itself — they were created for one another. / Arts, Faculty of / English, Department of / Graduate

<p>Cilj ovog rada je bio da se izvr&scaron;i kontrastivna ana-<br />IZ liza žanra tekstova o klasičnoj muzici na engleskom i srpskom jeziku koja bi omogućila predstavljanje ključnih jezičkih i sadržajnih sličnosti i razlika koje postoje među njima. U sklopu analize, žanr tekstova o klasičnoj muzici je sagledan i predstavljen kroz različite aspekte, a obavljena je i opsežna jezička analiza korpusa tekstova iz žanra, posebno za tekstove na engleskom jeziku i za one na srpskom. Nakon toga, obavljena je kontrastivna analiza, pomoću koje su uporedno sagledani rezultati dobijeni analizom žanra. Rezultati dobijeni u ovom radu mogu naći primjenu u četiri različita područja: u lingvističkim teorijama iz oblasti analize žanra i kontrastivne analize, pri upotrebi i kreiranju tekstova o klasičnoj muzici u okviru diskursne zajednice profesionalnih muzičara, prevođenju tekstova o klasičnoj muzici sa engleskog jezika na srpski i obrnuto i u nastavi engleskog jezika struke na visokoobrazovnim institucijama iz oblasti muzičke umjetnosti.</p> / <p>The aim of the paper was to perform a contrastive<br />AB genre analysis of texts on classical music in English and Serbian which would enable the presentation of key linguistic similarities and differences which exist between them. Within the analysis, the genre of texts on classical music was observed and presented through different aspects, and a comprehensive linguistic analysis of texts from the genre was performed as well, separately for texts in English and the ones in Serbian. After that, a contrastive analysis was performed, and by means of it the results obtained by the genre analysis were viewed comparatively. The results obtained in this paper introduce the genre of texts on classical music in the literature dedicated to genre analysis and contrastive analysis and can be applied in four different areas: linguistic theories dedicated to genre analysis and contrastive analysis, use and creation of texts on classical music within the discourse community of professional musicians, translation of texts on classical music from English to Serbian and vice<br />versa and ESP teaching at highe</p>