{"id":149,"date":"2013-11-27T20:59:50","date_gmt":"2013-11-27T18:59:50","guid":{"rendered":"https:\/\/harps.lmta.lt\/en\/?page_id=149"},"modified":"2021-12-06T20:31:39","modified_gmt":"2021-12-06T18:31:39","slug":"sonnet-interpretation-in-the-20th-century-vocal-chamber-music-word-sound-score-performance","status":"publish","type":"page","link":"https:\/\/harps.lmta.lt\/en\/artistic-doctorate\/completed-artistic-projects\/sonnet-interpretation-in-the-20th-century-vocal-chamber-music-word-sound-score-performance\/","title":{"rendered":"Sonnet Interpretation in the 20th Century Vocal Chamber Music: Word\u2013Sound, Score\u2013Performance"},"content":{"rendered":"

Doctoral student: Paul\u0117 Gudinait\u0117
\nSupervisors: Prof. Irena Uss-Armonien\u0117, Prof. Dr. R\u016bta Stanevi\u010di\u016bt\u0117-Kelmickien\u0117
\nDepartment: Accompanying Piano
\nDuration: 2013\u20132017<\/p>\n

Abstract<\/strong><\/p>\n

\"\"<\/a>

Paul\u0117 Gudinait\u0117 \/ photo Igor Bakan<\/p><\/div>\n

Developed in the 13th<\/sup> century and challenging poetic fantasy up to nowadays the literary sonnet is one of the most sophisticated and complicated poetic forms. Meanwhile, in music, as a genre or a form has not been specifically identified the sonnet draws up a small part of vocal chamber music.<\/p>\n

In the present artistic research paper, the 20th<\/sup> century vocal chamber music compositions written on the poetical basis of literary sonnet, are being analyzed from the compositional (creation \/ composer’s text) and interpretive (performance \/ performative text) aspects. The theoretical model is used that was created for this research, which integrates theoretical approach of ekphrasis and intersemiotic translation. Employing historical, descriptive, analytical, comparative, critical methods of scientific literature, and complex analysis of musical compositions and empirical analysis methods of music recordings the literary sonnet musical interpretations (composition and performance) have been disclosed as the characteristics of translation practice from the genre, historical, and cultural aspects. In the theoretical context of translation sequentially exposing the interpretive link of the sonnet (word\u2013sound, score\u2013performance) two exceptional on cultural interpretation vocal cycles by Benjamin Britten: Seven Sonnets of Michelangelo<\/em> for tenor and piano Op. 22, lyrics by M. Buonarroti (1940) and The Holy Sonnets of John Donne<\/em> for high voice and piano Op. 35, lyrics by J. Donne (1945), are highlighting the macro- and microstructures translation strategies of both the composer and the performers.<\/p>\n","protected":false},"excerpt":{"rendered":"

Doctoral student: Paul\u0117 Gudinait\u0117 Supervisors: Prof. Irena Uss-Armonien\u0117, Prof. Dr. R\u016bta Stanevi\u010di\u016bt\u0117-Kelmickien\u0117 Department: Accompanying Piano Duration: 2013\u20132017 Abstract Developed in the 13th century and challenging poetic fantasy up to nowadays the literary sonnet is one of the most sophisticated and complicated poetic forms. Meanwhile, in music, as a genre or a form has not been […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":29,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"template-doct-music-completed.php","meta":{"footnotes":""},"class_list":["post-149","page","type-page","status-publish","hentry"],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\t\n\t\t