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This thesis introduces a web of concepts to analyse Brahmsian metre and move toward a more nuanced understanding of metrical expression and narrative in his music. Recent analytical studies of metre in common-practice Western classical music have utilised a powerful analogy of consonance and dissonance between tonal and metrical dimensions. More theoretical studies, particularly of Brahms's music, have investigated how metrical states can be systematised, both abstractly and by Brahms, to create a sense of tonicity. This thesis synthesises and extends these approaches. Metrical dissonance is suggested to offer only an insufficient purchase on Brahms's metrical style, and the concept of accentual counterpoint is suggested as an alternative that gives fuller power to the explication of Brahms's metrical complexity, but without reducing that complexity. The complexity of metrical states that Brahms employs, in turn, is explored. Brahms's path to the composition of extraordinary metrical complexity in his Op. 78 violin sonata shows both his increasing systematisation of metrical states and his increasing ability to separate and manipulate metrical accent-types, the latter supporting the concept of accentual counterpoint. That metre has expressive power invites the concept of metrical narrative. An attempt is made to unite a recent theory of musical narrative with metrical analysis, inviting readings of different narrative archetypes within Brahms's metrical trajectories, with a focus on non-romantic narratives as a complement to traditional readings of unity. The pitch-metre analogy, and particularly the typicality of tonicity in metrical organisation, is problematised by those works by Brahms that begin and end in different notated metres. These instances, apparent manifestations of directional metre, are analysed, principally using the theories of hypermetre, metrical dissonance, metrical states and accentual counterpoint, with the hypothetical concepts of organisation (directional metre, metrical narrative and metrical tonicity) as interactive heuristics. Moving from organisation back to expression, the thesis closes by exploring a problem within current theories of form and phrase structure: the difference between musical expansion and extension. It highlights a metrical manifestation of this created as an effect of accentual counterpoint, dubbed metrical expansiveness, and examines the interaction of this effect with form and narrative.

This dissertation focuses on an analysis of the poem Tautona Ngaka Quett Masire printed in P. Seloma's An Analysis of the Poetry of Praise and Exhortation in Setswana (1990). The main objective of the investigation is to apply an adapted narratological model which states that there are three operational levels to a literary text, namely the content level, the plot level and the style level. The discussion poem Tautona Ngaka Quett Masire is based on these three levels. The methodological framework of the discussion is based on two main concepts namely the difference between defining and interpreting. It is strongly emphasized that these two concepts are used differently throughout the investigation since they are not synonymous in this discussion. . The content structure is discussed as having four elements, namely: characters, events, time and place. The characters are grouped into two categories namely the kind hearted person (Masire) and quarrelsome people (who are members of the opposition parties). These characters are discussed in relation to the following scheme: intention, patronage, resistance, assistance and success. They are also dealt within relation to each other and their special functions in the text. The setting in Tautona Ngaka Quett Masire is examined according to its two major aspects: time and place. Time at the content level is classified into three categories, namely: specific time, historical time and indefinite time. Place is divided into two categories which are the physical place of events and indefinite place (general locale). The plot structure is examined in respect of two major categories, namely the narrative plot and the poetic metre. In relation to the narrative plot, it is clear that events are controlled by the theme of the text, which is emphasized throughout the discussion. This poem Tautona Ngaka Quett Masire has also been discussed on the basis of the principles of plot: exposition, development, climax and denouement. Other important concepts of the plot structure include the design and the title. The techniques of the plot structure are also examined in this poem. With regard to poetic metre, the poem Tautona Ngaka Quett Masire is discussed using two rules: the rule of division and the rule of symmetrical harmony. The rule of division deals with metrical devices such as caesura, pause and enjambement, while that of symmetrical harmony concerns itself with the number of syllables, the number of penultimate summits and repetition. The discussion of the style of the poem deals with the mood and intention of the poet. In this discussion, diction as style markers and stylistic techniques are examined. It is clear that the poet Rabojalwa Keetile has used quite a number of stylistic techniques, the most frequently used being elision, conjunction and assonance. These techniques have been used to highlight the theme of the poem which is the need for modern development in Botswana. / Dissertation (MA (Setswana))--University of Pretoria, 2007. / African Languages / unrestricted

Beethoven’s vocal works are often neglected or overshadowed as a result of his prominent involvement with large-scale instrumental genres such as sonata, symphony, or string quartet. Nevertheless, he sustained throughout his life a significant interest in literature and poetry; his personal library, as well as his letters, Tagebuch, and conversation books all document this by way of numerous direct quotations from—and indirect references to—the literary materials that interested him. The numerous vocal works he produced between 1783 and 1826 are one relevant manifestation of this interest and engagement with words. Beethoven produced a significant body of vocal works, the majority of which have not received the same intensity of analytical treatment as the instrumental works. Specifically, this study examines the relationship between words and music in the solo songs and other vocal works of Beethoven. The points of intersection between literary and musical expression are evaluated within four aspects of text setting: structure, rhythm, meaning, and narrative. Firstly, elements of derivation and deviation are explored to determine the diverse ways that he deliberately constructed musical structures in response to the poetic (and semantic) structures of each source text. Secondly, and by extension, rhythm and metre—and varying degrees of derivation, deviation, and manipulation—are assessed so as to demonstrate how these works illustrate Beethoven’s awareness of the expressive possibilities for adhering to or altering the relationship between poetic and musical metre. Thirdly, various types of musical rhetoric—including Beethoven’s implementation of the conventions for affective tonality, as well as the reliance on both conventional and uniquely-Beethovenian depictive idioms and gestures—illustrate his response to various levels of semantic content. Fourthly, his response to individual (though interrelated) aspects of narrative in his selected texts are evaluated. Drawing concepts from key figures of narrative theory—including Gérard Genette, Roland Barthes, Mieke Bal, and others—this study assesses the narrative content in selected texts as a means by which to gauge Beethoven’s compositional response to aspects of temporality, focalisation, spatiality, and so forth, both individually and in combination. Ultimately, this study demonstrates that—contrary to frequently voiced opinions—Beethoven responded quite closely and deliberately to the expressive implications of his selected texts, while aspects of poetic and musical structure, rhythm, syntax, imagery, and layers of meaning coalesce within complex narrative processes. Beethoven was aware of the inherent musicality of poetic texts and the significance of forging a close compositional relationship between words and music; thus he consistently demonstrated in composing these works his ideology that within vocal works ‘words and music form a unit’.

A presente pesquisa tem a finalidade de traduzir as passagens líricas de três tragédias de Sófocles, As Traquínias, Ájax e Antígona, e analisá-las do ponto de vista dos elementos de gênero nelas encontrados e dos metros e estrofes que compõem sua estrutura. Na parte introdutória do trabalho, a cronologia das peças elegidas e as características de forma e conteúdo que apresentam em comum são discutidas com o fim de se mostrar que, se não formam um primeiro grupo de tragédias, como pretendem alguns autores, seriam ao menos as mais antigas dentre as peças supérstites de Sófocles. O primeiro capítulo da primeira parte da dissertação estabelece uma comparação entre os metros e os tipos de estrutura estrófica empregados nos poemas sob análise e aqueles presentes nas composições dos poetas líricos não dramáticos. O segundo capítulo divide-se em cinco seções, cada uma com um poema tomado como caso de estudo para por em questão um gênero determinado e a sua relação com o poema escolhido: (i) o párodo d\'As Traquínias (hinos e preces da tradição grega); (ii) o canto monostrófico (205-24) da mesma peça (ditirambo, peã e cantos nupciais [hymenaios, epithalamios]); (iii) o primeiro estásimo também dessa tragédia (odes epinícias); (iv) o seu segundo estásimo (canção de boas-vindas [prosphonetikon]); (v) e o primeiro kommós (806-82) de Antígona (lamento fúnebre [threnos]). As traduções das passagens elegidas, antecedidas por uma nota a respeito de seus critérios, formam a segunda parte da dissertação, que se finda então com as considerações finais, que buscam dar maior unidade ao trabalho, relacionando não só os dois capítulos da primeira parte, mas os poemas não tratados de modo específico naquelas cinco seções dessa primeira parte com os temas nela trabalhados ao longo da pesquisa. Como apêndice ao trabalho há a escansão de todos os poemas traduzidos e um glossário com todos os metros encontrados nos poemas, sua classificação e abreviatura. / The present research aims to translate the lyrical passages of three Sophoclean tragedies, Trachiniae, Aias, Antigone, and analyze them in terms of the elements of genre found therein and of the strophes and meters that make up its structure. In the introductory part of the work, the chronology of the selected plays and the form and content features they have in common are discussed so as to demonstrate that, if they do not constitute a first group of tragedies, as some authors claim, they should at least be placed among the oldest extant plays by Sophocles. The first chapter of the first part of the dissertation provides a comparison between the meter and the types of strophic structure employed in the poems under consideration and those present in the compositions of non-dramatic lyric poets. The second chapter is divided into five sections, each with a poem taken as a case study concerning a particular genre and its relationship with the poem chosen: (i) the parodos of Trachiniae (hymns and prayers of the Greek tradition); (ii) the monostrophic song (205-24) of the same play (dithyramb, paian and wedding-song [hymenaios, epithalamios]); (iii) the first stasimon also of this tragedy (epinician odes); (iv) its second stasimon (welcome-song [prosphonetikon]), (v) and the first Antigones kommos (806-82) (dirge [threnos]). The translations of the selected passages, prefaced by a note regarding their criteria, form the second part of the dissertation, which then ends with concluding remarks that seek to give greater unity to the work, relating not only the two chapters of the first part, but also the poems not treated specifically in those five sections of the first part with the themes that were elaborated there during the research. As an appendix to this work there is a scansion of all translated poems and a glossary with all meters found in the poems, their classification and abbreviation.

A presente pesquisa tem a finalidade de traduzir as passagens líricas de três tragédias de Sófocles, As Traquínias, Ájax e Antígona, e analisá-las do ponto de vista dos elementos de gênero nelas encontrados e dos metros e estrofes que compõem sua estrutura. Na parte introdutória do trabalho, a cronologia das peças elegidas e as características de forma e conteúdo que apresentam em comum são discutidas com o fim de se mostrar que, se não formam um primeiro grupo de tragédias, como pretendem alguns autores, seriam ao menos as mais antigas dentre as peças supérstites de Sófocles. O primeiro capítulo da primeira parte da dissertação estabelece uma comparação entre os metros e os tipos de estrutura estrófica empregados nos poemas sob análise e aqueles presentes nas composições dos poetas líricos não dramáticos. O segundo capítulo divide-se em cinco seções, cada uma com um poema tomado como caso de estudo para por em questão um gênero determinado e a sua relação com o poema escolhido: (i) o párodo d\'As Traquínias (hinos e preces da tradição grega); (ii) o canto monostrófico (205-24) da mesma peça (ditirambo, peã e cantos nupciais [hymenaios, epithalamios]); (iii) o primeiro estásimo também dessa tragédia (odes epinícias); (iv) o seu segundo estásimo (canção de boas-vindas [prosphonetikon]); (v) e o primeiro kommós (806-82) de Antígona (lamento fúnebre [threnos]). As traduções das passagens elegidas, antecedidas por uma nota a respeito de seus critérios, formam a segunda parte da dissertação, que se finda então com as considerações finais, que buscam dar maior unidade ao trabalho, relacionando não só os dois capítulos da primeira parte, mas os poemas não tratados de modo específico naquelas cinco seções dessa primeira parte com os temas nela trabalhados ao longo da pesquisa. Como apêndice ao trabalho há a escansão de todos os poemas traduzidos e um glossário com todos os metros encontrados nos poemas, sua classificação e abreviatura. / The present research aims to translate the lyrical passages of three Sophoclean tragedies, Trachiniae, Aias, Antigone, and analyze them in terms of the elements of genre found therein and of the strophes and meters that make up its structure. In the introductory part of the work, the chronology of the selected plays and the form and content features they have in common are discussed so as to demonstrate that, if they do not constitute a first group of tragedies, as some authors claim, they should at least be placed among the oldest extant plays by Sophocles. The first chapter of the first part of the dissertation provides a comparison between the meter and the types of strophic structure employed in the poems under consideration and those present in the compositions of non-dramatic lyric poets. The second chapter is divided into five sections, each with a poem taken as a case study concerning a particular genre and its relationship with the poem chosen: (i) the parodos of Trachiniae (hymns and prayers of the Greek tradition); (ii) the monostrophic song (205-24) of the same play (dithyramb, paian and wedding-song [hymenaios, epithalamios]); (iii) the first stasimon also of this tragedy (epinician odes); (iv) its second stasimon (welcome-song [prosphonetikon]), (v) and the first Antigones kommos (806-82) (dirge [threnos]). The translations of the selected passages, prefaced by a note regarding their criteria, form the second part of the dissertation, which then ends with concluding remarks that seek to give greater unity to the work, relating not only the two chapters of the first part, but also the poems not treated specifically in those five sections of the first part with the themes that were elaborated there during the research. As an appendix to this work there is a scansion of all translated poems and a glossary with all meters found in the poems, their classification and abbreviation.

Ce travail propose une réflexion comparatiste sur la poésie française et la poésie bulgare au tournant du XIXe siècle. Le point de vue adopté est celui de la versification qui est perçue, dans la lignée des travaux métriques après 1980, non seulement comme résultant de la spécificité de la langue, mais avant tout comme produit culturel et sociopolitique. La période considérée se caractérise, dans les deux pays, par une remise en cause des pratiques des prédécesseurs si bien que, malgré les différences entre le syllabisme français et la syllabotonique bulgare, l'invention métrique et les débats qui l'accompagnent représentent une réalité commune. L'analyse comparatiste de la conception qu'ont les poètes français et bulgares de l'œuvre poétique fait ressortir les différentes connotations esthétiques des deux versifications respectives. Le sens sociopolitique de celles-ci s'éclaire à la lumière de ce que les poètes pensent de la société, du pouvoir en place, et de leurs lecteurs potentiels. Le point de vue métrique révèle ainsi les partis-pris nationaux inhérents aux formes poétiques. / This work offers a comparatist reflection upon the French poetry and the Bulgarian poetry at the turn of the nineteenth century. The view I have adopted is that the versification which is perceived, in the tradition of the metric works after 1980, not only as a result of the language specificity, but above all as a cultural and socio-politicalproduct. The period I examine is characterised, in both countries, by a calling into question of the practices of the predecessors so that, in spite of the differences between the French syllabism and the Bulgarian syllabotonicversification, the metric invention and the debates that follow point out a common reality. My comparatist analysis of the views that are held by the French and Bulgarian poets bring out the different aesthetic connotations of the two respective versifications. The socio-political meaning of the latter is clearer in the light of what the poets think about their society, the power in place, and of their potential readers. The metric view thus reveals the national biases that are inherent to the poetic forms.

En aquest estudi s’analitza l’evolució diacrònica dels verbs metre i posar. Més concretament, se’n defineix l’estructura semàntica i els processos de gramaticalització més importants que han experimentat. La investigació tracta un tema nou en la recerca sobre la sintaxi i la semàntica històrica del català i ofereix una resposta a una singularitat d’aquesta llengua dins la major part de les llengües romàniques: el verb metre, ben viu durant el període medieval, experimenta una davallada sobtada des de començaments del segle XV. Alhora, el verb posar, amb uns usos fins aleshores més restringits, comença a assumir-ne els significats. Aquesta tendència no coincideix amb l’observada en llengües veïnes en les quals perviu actualment el verb metre. L’estudi es fonamenta en les dades obtingudes d’un corpus informatitzat, el CIMTAC, que incorpora textos del català antic, modern i contemporani. A l’hora d’estudiar el canvi lingüístic s’han fet servir teories actuals que ofereixen una bona resposta als fenòmens observats. En aquest sentit, s’ha adoptat un marc teòric pres de la Lingüística Cognitiva i de la Gramàtica de Construccions; en concret, s’ha aplicat la Teoria de la Inferència Invitada (Traugott i Dasher 2002; Traugott 2012) i els conceptes de subjectivació (Traugott i Dasher 2002) i intersubjectivació (Narrog 2012; Nuyts 2001; 2005). Així mateix, s’han tingut presents els diferents estudis sobre gramaticalització (Traugott i Trousdale 2013; Lehman 1995, Haspelmath 1998; 2004; Garachana 2015; 2017) i l’auxiliarització dels verbs (Heine 1993; Langacker 1995). Podem sintetitzar les aportacions concretes d’aquesta recerca en les següents: a) Els verbs de moviment bàsics com ara metre i posar, seguint la tendència ja estudiada per Montserrat (2007) amb venir i arribar, són la font conceptual per a la gènesi de perífrasis verbals que expressen nocions aspectuals (com ara el canvi d’estat o la incoativitat), més abstractes i esquemàtiques. b) El triomf de posar sobre metre potser s’ha d’explicar atenent a les restriccions semàntiques i pragmàtiques que pesaven sobre el segon. En un futur caldrà esbrinar la influència que hi pogueren tenir altres sinònims (sobretot, ficar). c) La combinació de les eines teòriques de la Semàntica Cognitiva i la Pragmàtica amb l’anàlisi de l’ús lingüístic reflectit en els corpus textuals digitalitzats és una via d’estudi del canvi lingüístic de molt de rendiment.

<p>The Phaenomena, written by Aratus of Soli in 276-274 B.C., enjoyed immense popularity in antiquity and was translated into Latin verse by Marcus Tullius Cicero, Germanicus Caesar and Rufius Festus Avienus, and into Latin prose by an anonymous author writing in the seventh century A.D. Previous studies of these works have provided important observations about individual aspects of the Latin poems and this thesis seeks to add to the understanding and appreciation of the works by comparing in detail the three verse translations and, where appropriate and possible, the prose Aratus Latinus, with the Greek original and with each other.</p> <p>The first chapter examines the problem of the popularity of the Greek Phaenomena down to the Renaissance and the second chapter investigates the nature of translation as a Roman literary phenomenon. The five chapters which follow include statistical surveys, based on both scansion of the poems and on computer-concordances compiled for the thesis, and stylistic analyses in order to elucidate the degree to which the translations were dependent upon and independent from the Greek model and the similarities and differences amcng the translations them.selves. Chapter III investigates four aspects of metre (metrical patterns, first and fourth foot, elision, and caesurae and diaereses). Chapter rv examines the quantity of sound and, in particular, initial consonantal alliteration. Chapter V contains a discussion of compound adjectives and epithets and Chapter VI, a discussion of special astronomical vocabulary (words of brightness, color terms and four special words: uis, laetus, tristis, crinis). Chapter VII investigates Greek words and Latin archaisms in the Latin translations and establishes evidence for Cicero's creation of a uniquely Latin poem through the use of Latin archaisms. The final chapter discusses further the emergence of a distinctly Roman Phaenomena, for Germanicus in the use of references to aspects of Roman life and for Avienus in the area of borrowings from the previous Latin translations of Aratus' poem. It concludes with a study of the ways in which each of the verse translators alter the emphasis of the original by reshaping its theme, thereby emphasizing the extent to which the translators went beyond their Greek model to create individual and original Latin works.</p> / Doctor of Philosophy (PhD)