Lyric Cousins - by Fiona Sampson (Paperback)
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<p/><br></br><p><b> About the Book </b></p></br></br><p>Today, poetry and art music occupy similar cultural positions. This is a study of these two formal craft traditions that is concerned with the similarities in their roles, structures, projects and capacities.</p><p/><br></br><p><b> Book Synopsis </b></p></br></br><p><strong>Leading poet, critic and former musician explores the 'deep forms' common to both poetry and music</strong></p> <p>Today, poetry and art music occupy similar cultural positions: each has a tendency to be regarded as problematic, 'difficult' and therefore 'elitist'. Despite this, the audiences and numbers of participants for each are substantial: yet they tend not to overlap. This is odd, because the forms share early history in song and saga, and have some striking similarities, often summed up in the word 'lyric'. </p> <p>These similarities include much that is most significant to the experience of each, and so of most interest to practitioners and audiences. They encompass, at the very least: the way each art-form is aural, and takes place in time; a shared reliance on temporal, rather than spatial, forms; an engagement with sensory experience and pleasure; availability for both shared public performance and private reading, sight-reading and hearing in memory; and scope for non-denotative meaning. In other words, looking at these elements in music is a way to look at them in poetry, and vice versa. </p> <p>This is a study of these two formal craft traditions that is concerned with the similarities in their roles, structures, projects and capacities.</p> <p></p><b> <p>Key Features</p> <ul></b> <p> <li>Sets out a new way to think about both music and poetry </li> <li>Doesn't make its arguments from within or for one particular school of music or poetry but has wide applicability </li> <li>Uses each 'cousin' art-form to cast light on the other as a whole: it is not just for poet-musicians, or musicians writing for voice</li> <li>A rare 'joint' perspective: written by an award-winning poet who was formerly a professional musician</li></ul><p/><br></br><p><b> From the Back Cover </b></p></br></br>'Described by its author as a "thought experiment", it is evident within a few pages that this book is so much more. Drawing on her rare combination of insights as a poet, critic and musician, as well as her background in health-care, Fiona Sampson has produced a remarkable new work of aesthetics. As creatively inventive as it is critically astute, the connections and insights of this book will be essential reading for anyone concerned with poetry or music, or more broadly with the place and reception of the arts in society.' Michael Symmons, Professor of Poetry, Manchester Metropolitan University Leading poet, critic and former musician explores the 'deep forms' common to both poetry and music Today, poetry and art music occupy similar cultural positions: each has a tendency to be regarded as problematic, 'difficult' and therefore 'elitist'. Despite this, the audiences and numbers of participants for each are substantial: yet they tend not to overlap. This is odd, because the forms share early history in song and saga, and exhibit some striking similarities, often summed up in the word 'lyric'. These similarities include much that is most significant to the experience of each, and so of greatest interest to both practitioners and audiences. They include: the way each art form is aural; a shared reliance on temporal, rather than spatial, forms; engagement with sensory experience and pleasure; an availability for both shared public performance and private reading, sight-reading and hearing in memory; and scope for non-denotative meaning. In other words, looking at these elements in music is a way to look at them in poetry, and vice versa. Fiona Sampson studied violin at the Salzburg Mozarteum, Menuhin Academy Gstaad and Royal Academy of Music, where she won the John Waterhouse year prize. Now Professor of Poetry at the University of Roehampton, she has worked as an editor, translator and critic of poetry; her own poetry is widely translated and has received a number of national and international awards. Cover image: Gabrielle d'Estrées and one of her sisters, unknown artist, c.1594, public domain work courtesy of Wikimedia Commons Cover design: [EUP logo] edinburghuniversitypress.com ISBN 978-1-4744-0292-7 Barcode<p/><br></br><p><b> Review Quotes </b></p></br></br><br><p>engaging, beguiling, multifaceted work...</p>--Adam Hansen, Northumbria University "English: Journal of the English Association Volume 66 Issue 254 "<br><br><p>In her latest work, Fiona Sampson's verse is alive to musicality.</p>--Josephine Balmer "The New Statesman, February 2017 "<br><br><p>This book confirms 2 things; Fiona's status as an expert on musicality and poetry and her ability to break up any subject, making it accessible. I would heartily recommend this book as essential reading to anyone, even remotely interested in poetry.</p>--Katherine Lockton "Southbank Poetry "<br><p/><br></br><p><b> About the Author </b></p></br></br><p>Fiona Sampson is Professor of Poetry and Director of Roehampton Poetry Centre, at the University of Roehampton. She is currently the Editor of the journal Poem and from 2005-2012 she was the Editor of Poetry Review. She is a prize-winning poet and former professional musician whose works have been published in more than thirty languages. A Fellow and Council Member of the Royal Society of Literature, Fellow of the Royal Society of Arts, Fellow of the English Association and Trustee of the Wordsworth Trust, her publications include 24 volumes of poetry, criticism and philosophy of language. She has 12 books in translation, and has received the Zlaten Prsten (Macedonia) and the Charles Angoff Award (US), and been shortlisted for the Evelyn Encelot Prize for European Women Poets. She has received the Newdigate Prize, a Cholmondeley award, a Hawthornden fellowship, Kathleen Blundell and Oppenheimer-John Downes Awards from the Society of Authors, Writer's Awards from the Arts Councils of England and Wales and various Poetry Book Society commendations, and has been shortlisted twice for both the T.S. Eliot Prize and Forward prizes. Recent books include a new edition of Percy Bysshe Shelley for Faber (PBS Book-club Choice) and a poetry collection, Coleshill (Chatto, PBS Recommendation). The US edition of her selected poems appeared from Sheep Meadow Press in 2013.<p>
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