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Every musical form has had an impact on the linguistic practices of our society. French song is a vector of cultural, social, and stylistic values. Throughout the world, songs in the French language are used in the teaching of French: professors incorporate songs into the curriculum in order to illustrate differences of register and linguistic variation, as well as to raise lexical or grammatical questions. As a form of popular expression, song is a genre that has, in recent years, become the focus of serious academic scholarship and criticism. However, few linguists have paid attention to French song and its linguistic uses. This richly illustrated mini-dictionary about French singers fills this gap by offering a collection of portraits of the greatest singers of the French language and how they have constructed the musical landscape in both France and the larger francophone community and the world as a whole. Through (re)discovering these classic and contemporary artists who contribute to the creation of the sonorous universe of the 20th and 21st centuries, the volume determines how these musical genres influence the French language and nourish our collective imagination. By plunging into francophone song, one can achieve a better understanding of the culture and the language of its speakers.

In this bilingual anthology, editor and translator Simpson selects those masterpieces of French poetry that formed the taste of generations of readers throughout the world. Here are the moderns of 1848, the Symbolist poets of the turn of the century, the Dadaists, and the Surrealists who flourished in the 1930's. Also included are biographies of the poets and descriptions of main literary movements. --Story Line Press.

As the visual representation of an essentially oral text, Sylvia Huot points out, the medieval illuminated manuscript has a theatrical, performative quality. She perceives the tension between implied oral performance and real visual artifact as a fundamental aspect of thirteenth- and fourteenth-century poetics. In this generously illustrated volume, Huot examines manuscript texts both from the performance-oriented lyric tradition of chanson courtoise, or courtly love lyric, and from the self-consciously literary tradition of Old French narrative poetry. She demonstrates that the evolution of the lyrical romance and dit, narrative poems which incorporate thematic and rhetorical elements of the lyric, was responsible for a progressive redefinition of lyric poetry as a written medium and the emergence of an explicitly written literary tradition uniting lyric and narrative poetics. Huot first investigates the nature of the vernacular book in the thirteenth and fourteenth centuries, analyzing organization, page layout, rubrication, and illumination in a series of manuscripts. She then describes the relationship between poetics and manuscript format in specific texts, including works by widely read medieval authors such as Guillaume de Lorris, Jean de Meun, and Guillaume de Machaut, as well as by lesser-known writers including Nicole de Margival and Watriquet de Couvin. Huot focuses on the writers' characteristic modifications of lyric poetics; their use of writing and performance as theme; their treatment of the poet as singer or writer; and of the lady as implied reader or listener; and the ways in which these features of the text were elaborated by scribes and illuminators. Her readings reveal how medieval poets and book-makers conceived their common project, and how they distinguished their respective roles.

Dr. Maurice Hinson caps off his extensive library of period anthologies with a comprehensive look at Impressionist compositions. This beautifully engraved edition includes works by the top 20 Impressionistic composers, an extensive foreword with historical information on each composer, specific performance notes for each pieces and a look at the compositional techniques used by Impressionists.

Through forty-five creative and concise essays by an international team of authors, this Cambridge History brings the fifteenth century to life for both specialists and general readers. Combining the best qualities of survey texts and scholarly literature, the book offers authoritative overviews of central composers, genres, and musical institutions as well as new and provocative reassessments of the work concept, the boundaries between improvisation and composition, the practice of listening, humanism, musical borrowing, and other topics. Multidisciplinary studies of music and architecture, feasting, poetry, politics, liturgy, and religious devotion rub shoulders with studies of compositional techniques, musical notation, music manuscripts, and reception history. Generously illustrated with figures and examples, this volume paints a vibrant picture of musical life in a period characterized by extraordinary innovation and artistic achievement.

Simple songs or airs, in which a male poetic voice either seduces or excoriates a female object, were an influential vocal genre of the French Baroque era. In this comprehensive and interdisciplinary study, Catherine Gordon-Seifert analyzes the style of airs, which was based on rhetorical devices of lyric poetry, and explores the function and meaning of airs in French society, particularly the salons. She shows how airs deployed in both text and music an encoded language that was in sensuous contrast to polite society's cultivation of chaste love, strict gender roles, and restrained discourse.

(Vocal Collection). Contents: Handel: V'adoro pupille (Giulio Cesare) Mozart: Porgi, amor (Le Nozze di Figaro) * Dove sono (Le Nozze Figaro) * Deh vieni, non tardar (Le Nozze di Figaro) * Bester Jungling (Der Schauspieldirektor) * Batti, batti, bel Masetto (Don Giovanni) * Vedrai carino (Don Giovanni) * Ach, ich fuhl's (Die Zauberflote) Beethoven: O war' ich schon mit dir vereint (Fidelio) C.M. von Weber: Kommt ein schlanker Bursch gegangen (Der Freischutz) Verdi: Caro nome (Rigoletto) * Saper vorreste (Un Ballo in Maschera) * Sul fil d'un soffio etesio (Falstaff) Gounod: The Jewel Song (Faust) * Ah! Je veux vivre (Romeo et Juliette) Bizet: Je dis que rien ne m 'epouvante (Carmen) Offenbach: Elle a fui, la tourterelle! (Les Contes d'Hoffmann) Massenet: Adieu, notre petite table (Manon) Leoncavallo: Ballatella (I Pagliacci) Puccini: Mi chiamano Mimi (La Boheme) * Donde lieta (La Boheme) * Quando men vo (La Boheme) * Un bel di (Madama Butterfly) * O mio babbino caro (Gianni Schicchi) * Signore, ascolta (Turandot) * Tu che di gel sei cinta (Turandot) Menotti: The Black Swan (The Medium) * Monica's Waltz (The Medium) Moore: Willow Song (The Ballad of Baby Doe) * The Silver Aria (The Ballad of Baby Doe) Mechem: Fair Robin, I love (Tartuffe).