{"id":{"repo_id":"whiterose","oai_identifier":"oai:etheses.whiterose.ac.uk:1768"},"canonical_url":"https://search.dev.ndltd.org/etd/whiterose/oai:etheses.whiterose.ac.uk:1768","repository":{"repo_id":"whiterose","name":"White Rose University Consortium","base_url":"https://etheses.whiterose.ac.uk/cgi/oai2"},"display":{"title":"Music and the English Lyric Poem: Explporations in Conceptual Blending","abstract":"Music and The English Lyric Poem: Explorations in Conceptual Blending Although lyrics are addressed primarily to the ear, the development of lyric poetry, that is of 'lyrical' poetry that is not necessarily meant to be sung , is partly the consequence of the rise of print communication and tends to \"address the ear through the eye\". As a result, there was a development, from the Renaissance, of linguistically and pragmatically dense poetry; essentially poetry to be encountered through reading, rather than hearing. When such poetry is set to music we have two aesthetic and communicative modes presented to the same sense-modality. And yet the complexity of poetry is partly the result of a particular reading strategy; to read a poem is to read words as poetry. In doing so we make 'vertical' semantic connexions which are more difficult to construe when addressed to the ear in a musical setting. Thus there is a tension between the movement of the music, heard as a temporal, sonic medium, and the complexities of the poem, conceived as spatial, graphic form. This dissertation explores the relationship between poetry and music through a consideration of the theory of conceptual blending.","abstract_html":"Music and The English Lyric Poem: Explorations in Conceptual Blending Although lyrics are addressed primarily to the ear, the development of lyric poetry, that is of 'lyrical' poetry that is not necessarily meant to be sung , is partly the consequence of the rise of print communication and tends to "address the ear through the eye". As a result, there was a development, from the Renaissance, of linguistically and pragmatically dense poetry; essentially poetry to be encountered through reading, rather than hearing. When such poetry is set to music we have two aesthetic and communicative modes presented to the same sense-modality. And yet the complexity of poetry is partly the result of a particular reading strategy; to read a poem is to read words as poetry. In doing so we make 'vertical' semantic connexions which are more difficult to construe when addressed to the ear in a musical setting. Thus there is a tension between the movement of the music, heard as a temporal, sonic medium, and the complexities of the poem, conceived as spatial, graphic form. This dissertation explores the relationship between poetry and music through a consideration of the theory of conceptual blending.","abstract_has_math":false,"creators":["Green, Keith"],"institution":"University of Sheffield","degree_name":"M.Mus","degree_level":"masters","degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":["Ker, Dorothy"],"committee_chairs":[],"committee_members":[],"year":2011,"date_issued":"2011-10","date_published":"2011-10","updated_at":"2026-07-24T06:05:10Z","subjects":[],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":null,"outbound_label":null,"outbound_source":null},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Ker, Dorothy"]},{"key":"dc:creator","label":"Author","values":["Green, Keith"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2011-10-26"]},{"key":"dc:date.issued","label":"Date","values":["2011-10"]},{"key":"dc:publisher.commercial","label":"Dc Publisher Commercial","values":["University of Sheffield"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["Music (Sheffield)"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["University of Sheffield"]},{"key":"dc:relation.isreferencedby","label":"Dc Relation Isreferencedby","values":["https://etheses.whiterose.ac.uk/id/eprint/1768/"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["masters"]},{"key":"dc:type.qualificationname","label":"Dc Type Qualificationname","values":["M.Mus"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://etheses.whiterose.ac.uk/id/eprint/1768/2/Green%2C_Keith.pdf"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Music and The English Lyric Poem: Explorations in Conceptual Blending Although lyrics are addressed primarily to the ear, the development of lyric poetry, that is of 'lyrical' poetry that is not necessarily meant to be sung , is partly the consequence of the rise of print communication and tends to \"address the ear through the eye\". As a result, there was a development, from the Renaissance, of linguistically and pragmatically dense poetry; essentially poetry to be encountered through reading, rather than hearing. When such poetry is set to music we have two aesthetic and communicative modes presented to the same sense-modality. And yet the complexity of poetry is partly the result of a particular reading strategy; to read a poem is to read words as poetry. In doing so we make 'vertical' semantic connexions which are more difficult to construe when addressed to the ear in a musical setting. Thus there is a tension between the movement of the music, heard as a temporal, sonic medium, and the complexities of the poem, conceived as spatial, graphic form. This dissertation explores the relationship between poetry and music through a consideration of the theory of conceptual blending."]},{"key":"dc:format","label":"Dc Format","values":["text"]},{"key":"dc:title","label":"Title","values":["Music and the English Lyric Poem: Explporations in Conceptual Blending"]}]}],"canonical_facts":{"dc:contributor.advisor":["Ker, Dorothy"],"dc:creator":["Green, Keith"],"dc:date":["2011-10-26"],"dc:date.issued":["2011-10"],"dc:description.abstract":["Music and The English Lyric Poem: Explorations in Conceptual Blending Although lyrics are addressed primarily to the ear, the development of lyric poetry, that is of 'lyrical' poetry that is not necessarily meant to be sung , is partly the consequence of the rise of print communication and tends to \"address the ear through the eye\". As a result, there was a development, from the Renaissance, of linguistically and pragmatically dense poetry; essentially poetry to be encountered through reading, rather than hearing. When such poetry is set to music we have two aesthetic and communicative modes presented to the same sense-modality. And yet the complexity of poetry is partly the result of a particular reading strategy; to read a poem is to read words as poetry. In doing so we make 'vertical' semantic connexions which are more difficult to construe when addressed to the ear in a musical setting. Thus there is a tension between the movement of the music, heard as a temporal, sonic medium, and the complexities of the poem, conceived as spatial, graphic form. This dissertation explores the relationship between poetry and music through a consideration of the theory of conceptual blending."],"dc:format":["text"],"dc:identifier.uri":["https://etheses.whiterose.ac.uk/id/eprint/1768/2/Green%2C_Keith.pdf"],"dc:publisher.commercial":["University of Sheffield"],"dc:publisher.department":["Music (Sheffield)"],"dc:publisher.institution":["University of Sheffield"],"dc:relation.isreferencedby":["https://etheses.whiterose.ac.uk/id/eprint/1768/"],"dc:title":["Music and the English Lyric Poem: Explporations in Conceptual Blending"],"dc:type":["Thesis"],"dc:type.qualificationlevel":["masters"],"dc:type.qualificationname":["M.Mus"]},"updated_at":"2026-07-24T06:05:10Z"}