STEPHEN RODGERS
Biographic Data
| ID | 6307120 |
|---|---|
| NAME | STEPHEN RODGERS |
| GIVEN NAMES | STEPHEN |
| FAMILY NAME | RODGERS |
| SIGNATURE | RODGERS S |
| AFFILIATIONS | University of Oregon |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2011 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 0 |
Prolongational Closure in the Lieder of Fanny Hensel
In this article we explore Fanny Hensel’s songs that end without cadences but instead with what William Caplin (2018) calls “prolongational closure.” These songs, most of which come from the 1820s, are some of the earliest examples of piece-ending prolongational closure in the repertoire and thus offer important models for understanding how the technique was deployed by later composers. We propose three types of prolongational closure, drawn from…
Song and the Music of Poetry
As much as the Lied has been a mainstay in studies of the relationship between text and music, one important aspect of that relationship has been largely ignored: the ways in which composers respond to the sounds, or phonemes, of words themselves. Analysts of German Lieder (and art song in general) have emphasised the diverse ways in which music expresses the meaning of poetry, but they have remained largely indifferent to how music captures, and…
Sentences with Words
Research on theme-types (periods, sentences, hybrids, etc.) has dealt primarily with instrumental music. This article focuses on sentence form in vocal music, using Schubert's Die schöne Müllerin as a case study. Analysis reveals that Schubert's sentences often go hand in hand with poems that begin with rhyming couplets, that the type of sentence he uses depends upon the sense and structure of the text associated with it, and that he favors sente…
Not So Far Away
Thinking (and Singing) in Threes
This study explores the expressive role of triple hypermeter in music with text, using the songs of Fanny Hensel as a case study. Drawing upon work by Harald Krebs, Yonatan Malin, and Richard Cohn, I examine the musical and poetic contexts in which triple hypermeter tends to occur. Passages of triple hypermeter in Hensel's songs, I argue, often result from the distortion of duple norms. Where the natural poetic rhythm of a text may suggest a dupl…
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Thinking (and Singing) in Threes
This study explores the expressive role of triple hypermeter in music with text, using the songs of Fanny Hensel as a case study. Drawing upon work by Harald Krebs, Yonatan Malin, and Richard Cohn, I examine the musical and poetic contexts in which triple hypermeter tends to occur. Passages of triple hypermeter in Hensel's songs, I argue, often result from the distortion of duple norms. Where the natural poetic rhythm of a text may suggest a dupl…
Not So Far Away
Sentences with Words
Research on theme-types (periods, sentences, hybrids, etc.) has dealt primarily with instrumental music. This article focuses on sentence form in vocal music, using Schubert's Die schöne Müllerin as a case study. Analysis reveals that Schubert's sentences often go hand in hand with poems that begin with rhyming couplets, that the type of sentence he uses depends upon the sense and structure of the text associated with it, and that he favors sente…
Song and the Music of Poetry
As much as the Lied has been a mainstay in studies of the relationship between text and music, one important aspect of that relationship has been largely ignored: the ways in which composers respond to the sounds, or phonemes, of words themselves. Analysts of German Lieder (and art song in general) have emphasised the diverse ways in which music expresses the meaning of poetry, but they have remained largely indifferent to how music captures, and…
Prolongational Closure in the Lieder of Fanny Hensel
In this article we explore Fanny Hensel’s songs that end without cadences but instead with what William Caplin (2018) calls “prolongational closure.” These songs, most of which come from the 1820s, are some of the earliest examples of piece-ending prolongational closure in the repertoire and thus offer important models for understanding how the technique was deployed by later composers. We propose three types of prolongational closure, drawn from…
Art (5 works) · Literature (4 works) · Aesthetics (3 works) · Musicology and Musical Analysis (3 works) · Neuroscience and Music Perception (3 works) · Philosophy (3 works) · Poetry (3 works) · Epistemology (2 works) · Linguistics (2 works) · Music Technology and Sound Studies (2 works)