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Record Nr. |
UNINA9910468033603321 |
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Autore |
Kehayov Petar |
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Titolo |
The fate of mood and modality in language death : evidence from minor finnic / / Petar Kehayov |
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Pubbl/distr/stampa |
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Berlin, [Germany] ; ; Boston, [Massachusetts] : , : De Gruyter Mouton, , 2017 |
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©2017 |
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ISBN |
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3-11-052199-7 |
3-11-052408-2 |
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Descrizione fisica |
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1 online resource (406 pages) : illustrations, maps |
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Collana |
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Trends in Linguistics. Studies and Monographs, , 1861-4302 ; ; Volume 307 |
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Classificazione |
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Disciplina |
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Soggetti |
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Modality (Linguistics) |
Grammar, Comparative and general - Mood |
Electronic books. |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Frontmatter -- Acknowledgments -- Table of contents -- Transliteration and transcription conventions -- Abbreviations of languages, dialects and names of settlements (in Russian and in the respective Finnic variety) -- Abbreviations of linguistic notions -- List of figures. List of maps. List of tables -- 1. Introduction -- 2 Language death: current state of the research -- 3. Mood and modality: definitions, semantic values and their organization -- 4. Mood and modality meets language death -- 5. The languages studied -- 6. Methods of inquiry -- 7. Intensity of the language contact and the degree of contraction outside MM-domain -- 8. MM in the receding varieties -- 9. Toward a uniform account of the phenomena observed in the domain of MM -- 10. Conclusions -- Appendices: examples of elicited linguistic data -- Appendix I. Q5: materials from Eastern Seto -- Appendix II. Non-controlled elicitation: materials from Central Lude -- References -- Language index: Finnic varieties -- Subject index |
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Sommario/riassunto |
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Research into the “grammar of language death” is often biased toward formal processes (e.g. paradigmatic levelling). In this study the author changes the perspective and shows that the relative susceptibility of |
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linguistic elements to loss, change and innovation in language death circumstances can be dependent on meaning and thus organized along semantic notions rather than along structure. |
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2. |
Record Nr. |
UNINA9910265235703321 |
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Autore |
Murchison Gayle Minetta |
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Titolo |
The American Stravinsky : The Style and Aesthetics of Copland's New American Music, the Early Works, 1921-1938 / / Gayle Murchison |
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Pubbl/distr/stampa |
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Ann Arbor : , : University of Michigan Press, , 2012 |
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©2012 |
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ISBN |
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Descrizione fisica |
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1 online resource (xviii, 285 pages) : illustrations |
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Disciplina |
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Soggetti |
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Music / History & Criticism |
Music |
Electronic books. |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Nota di bibliografia |
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Includes bibliographical references (p. 259-275) and index. |
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Nota di contenuto |
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Scherzo humoristique (Cat and mouse) : Copland's American Petrushka and his debt to Stravinsky -- Boulanger and compositional maturity -- Popular music and jazz : authentic or Ersatz? -- Paris and jazz : French neoclassicism and the new modern American music -- Back in the United States : popular music, jazz, and the new American music -- European influence beyond Stravinsky and les Six : Hába and Schoenberg -- Toward a new national music during the 1930s : Copland's populism, accessible style, and folk and popular music -- Copland's journey left -- "Folk" music and the popular front : El salón Mexico -- Billy the Kid -- A vision for American music-- . |
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Sommario/riassunto |
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One of the country's most enduringly successful composers, Aaron Copland created a distinctively American style and aesthetic in works for a diversity of genres and mediums, including ballet, opera, and film. Also active as a critic, mentor, advocate, and concert organizer, he |
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played a decisive role in the growth of serious music in the Americas in the twentieth century. In The American Stravinsky, Gayle Murchison closely analyzes selected works to discern the specific compositional techniques Copland used, and to understand the degree to which they derived from European models, particularly the influence of Igor Stravinsky. Murchison examines how Copland both Americanized these models and made them his own, thereby finding his own compositional voice. Murchison also discusses Copland's aesthetics of music and his ideas about its purpose and social function. |
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