In this treatise, I have transcribed into musical notation seven poems and their accompaniments on flute (collectively referred to as the Jane Poems) written by poet Jessica Hand and flutist/composer Jeana Melilli. Poetry is often set to music, but it is unusual for music to be written as accompaniment to spoken poetry without altering the recitation of the poem itself, so these pieces do not fit easily into any existing genre and are therefore well positioned to begin defining a new genre. As the poet and composer are currently the primary performers of these works, the flute parts have heretofore been written only as annotations in the traditionally-written poetry (see the facsimiles included in section two of this document), and neither part has ever been written in musical and/or rhythmic notation. The transcriptions, which comprise the second section of this treatise, will provide a format in which the text and music can appear together in print publications, and will allow other performers to learn these works without ever having heard them. Each chapter of section two contains an original transcription, preceded by a performance guide, the poem as originally written by Jessica Hand, and a facsimile of Jeana Melilli's original manuscript with her own annotations indicating her accompaniments. The performance guide includes background information on the corresponding poem and flute part, and other relevant details to ensure that performers have a sufficient understanding of the work. The first section of this treatise provides the background and analysis necessary to understand the transcriptions that follow. It begins with a history of the relationship between poetry and music, from Greek lyric poetry through Sprechstimme to rap. Biographical information gives the reader a contextual framework in which to place these pieces. The analysis section examines Hand's semi-autobiographical poems, which are written in free verse, but are not ametrical, from a musical perspective. She uses poetic feet in various combinations to create rhythmic patterns, and her rhythmically-consistent delivery of these patterns creates mixed meters which can be transcribed in musical notation and further analyzed to determine how the uses of mixed meters evoke different emotional responses in the listener. It also examines Melilli's accompaniments, which are written in three primary styles, and the ways in which they impact, highlight, or alter the meaning of the text. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester, 2015. / February 18, 2015. / Flute, New Music, Poetry, Transcriptions / Includes bibliographical references. / Eva Amsler, Professor Co-Directing Treatise; Jeffrey Keesecker, Professor Co-Directing Treatise; Jane Piper Clendinning, University Representative; Deborah Bish, Committee Member.
| Identifer | oai:union.ndltd.org:fsu.edu/oai:fsu.digital.flvc.org:fsu_253484 |
| Contributors | Sherer, Jessica Elizabeth (authoraut), Amsler, Eva (professor co-directing treatise), Keesecker, Jeff (professor co-directing treatise), Clendinning, Jane Piper (university representative), Bish, Deborah (committee member), Florida State University (degree granting institution), College of Music (degree granting college) |
| Publisher | Florida State University, Florida State University |
| Source Sets | Florida State University |
| Language | English, English |
| Detected Language | English |
| Type | Text, text |
| Format | 1 online resource (108 pages), computer, application/pdf |
| Rights | This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). The copyright in theses and dissertations completed at Florida State University is held by the students who author them. |
Page generated in 0.012 seconds