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Music Lessons: Newcastle / Bloodaxe Poetry Lectures Paperback – 30 Jun 2011

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Product details

  • Paperback: 64 pages
  • Publisher: Bloodaxe Books Ltd (30 Jun. 2011)
  • Language: English
  • ISBN-10: 1852249099
  • ISBN-13: 978-1852249090
  • Product Dimensions: 0.6 x 14 x 21.6 cm
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 953,172 in Books (See Top 100 in Books)

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Product Description

About the Author

Fiona Sampson was first a concert violinist, then studied at the Universities of Oxford, where she won the Newdigate Prize, and Nijmegen, where she received a PhD in the philosophy of language. This research arose from her pioneering residencies in health care. Her latest of seventeen books is Rough Music, shortlisted for the 2010 Forward and T.S. Eliot Prizes. In 2009 she received a Cholmondeley Award and became an FRSL. She is editor of Poetry Review.

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2 of 4 people found the following review helpful By Jose Maria Prieto Zamora on 6 Aug. 2011
Format: Paperback
This is a difficult book because it combines two different ways of talking and hearing around, poetry versus music. The author has expertise in both fields and the reader should have access, for instance, to youtube to get the piece of music she mentions and figure out the intended meaning in several paragraphs. Lecture 1 highlights that breathing sets the stage in the wording of phrases that become verses and generate a poem that may be enjoyed as a melody. Lecture 2 illustrates that the page is the space where the poem grows and becomes the monument where the reader a) may get lost when trying to find out what is the right way to exit or b) may field at home and spend several hours looking around because this is the right place to stay and enjoy. The third lecture establishes a nexus between a)color and chromaticism in music, b) sound and hearing in poetry. Too many names and poems are mentioned and so readers must find their way in anthologies. Only a few verses or stanzas are commented to illustrate what the author has in mind when she argues walking around early in the morning with a flashlight. Each note sounds clear in the piano and a little bit confusing often in the violin. I share her view on the nexus between poetry, hearing, breathing and music. The critical point is that I know a lot of poets who are hard of hearing, too many with earphones, techno-sound at home or in disco-pubs. There are still a few who have very sharp hearing, but they are monks or hermits. Rarely they read their poems in public and one of them is mentioned in this book, he is an American laurate poet, he lives in the paradise, a farm in Hawaii. Please, try to identify him and have a look to his poems.
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