Relationship between Music and Literature

This paper introduces *Countrymance*, a newly coined genre by M. Dangi (2025). Formed from *country* and the suffix *-mance* (from *romance*), the word signifies "a love rooted in simplicity, nature, and the timeless traditions of rural life." *Countrymance* is presented as both a **literary genre** and a **music genre**, uniting written word and song under the same vision. In literature, it represents stories, poetry, and memoirs grounded in rural imagery and heartfelt simplicity. In music, it expresses itself through ballads, acoustic storytelling, and lyrics that celebrate love in harmony with nature. By formalizing this neologism in the academic record, its first use and authorship are permanently documented, contributing to the expanding dictionary of newly coined literary and musical genres connected to Spiritual Feminist Literature and its evolving branches.

J. Brahms, Sonata n. 1 in sol maggiore op. 78 "Regensonate"; M. Ravel, Sonata n. 2 in sol maggiore; L.v. Beethoven Sonata “a Kreutzer” in la maggiore op. 47 – Sergej Krylov, violino, Michail Lifits, pianoforte, Teatro Lirico di Cagliari, 13.6.2023

In 1953 Paweł Hertz published a volume of poetry entitled Nowy lirnik mazowiecki [New Mazovian Lyrist] and modelled on the poetry of Teofil Lenartowicz. Two years later Zygmunt Mycielski set these poems to music, writing 9 songs and a finale for soprano, baritone, mixed choir and orchestra. It was only in 1959 that the work was performed and recorded for the Polish Radio under the direction of Jerzy Gert. With hindsight it seems that Nowy lirnik mazowiecki – a work with clear folk inclinations, drawing on nineteenth-century models in both the poetry and the music – should be classified as a socialist realist piece and possibly a result of the two artists’ non-confrontational attitude. However, a close analysis of the composer’s and the poet’s writings as well as the two artists’ correspondence leads to different conclusions. Using Hertz’s concept of ‘coupled reading’, the author reconstructs the personal and ideological context of the poetical-musical version of Nowy lirnik mazowiecki by Hertz and Mycielski, showing different ways of interpreting the work.

In the following essay, I will focus upon determining whether or not the opening section of “Sirens” (from lines 1 to 63) in James Joyce's "Ulysses" (1922) contains musical aesthetics that can be defined as being similar to experimental compositional ideas from the period and even, speculatively, anachronistic ones belonging to future decades. I hinge my argument on the biographical fact that, whilst writing “Sirens”, Joyce was living in Zurich, which at the time was a city especially rich in radical musical experimentation and “free” compositional thinking, spearheaded by the pedagogic influence of Ferruccio Busoni. I build my overall text around critical research in regard to the historical study of the musicological structure of “Sirens”, which arguably today, in certain respects, has reached a point of necessary refocus. I argue that today we are faced with a new interpretive structural problem in connection to “Sirens” which concerns its opening section and the question of its musical identity for which currently there is no similar critical agreement or definitive genetic “proof” that ties it down to a specific musicological form or concept. I will present an overall introduction to the research issue of this question, its critical history and my own approach, which owes its musical structure greatly to highly experimental modern concepts, primarily focusing on early 20th century harmonic series theory and anachronistic ideas involving 1950s serialism.

Over the past decades, the fruitful cross-over between "Don Quixote" and music has been the subject of a large number of research works. However, studies in this field, so far, have paid scant attention to the world of jazz. This article presents a general panorama of the jazz compositions and recordings inspired by "Don Quixote" throughout the world between 1925 and 2022. The quantitative analysis of this catalogue—a list of 200 examples of jazz and jazz-inflected compositions related to Cervantes’s novel—aims to expand the existing knowledge about the reception of "Don Quixote" in the realm of music and about the reception of literary works in general in the domains of jazz.

Facing the Challenges of the Modern Civilization" Summary-The article is devoted to relationships between the transformations that take place in the Romantic aesthetics and artistic practice, and the media revolution that co-shaped the art of the first decades of the nineteenth century. The author analyses in particular the way in which the expansion of print-resulting from the evolution of the contemporary technologies that allowed for the reproduction of texts, as well as scores and paintings-influences the Romantic models of understanding of such issues as the relation between the original and the copy, between the work and its interpretation, between its record and execution. The endpoint for the proposed study is the thesis that, in the face of the growing danger of standardization in art, provoking in the Romantics a peculiar "fear of reproduction", the contemporary artists try to realise a new concept of medium as a personalized and individualised instance, creatively affecting the shape of their works. This, in turn, favours and supports the artistic potential of the mediation process itself, which T. Gautier will describe as the transposition of the arts. Keywords-romanticism and media, Romantic aesthetics, transpositions of the arts, intermediality, relationship between literature and music, Alexandre Dumas, Théophile Gautier, Hector Berlioz "Kopie, interpretacje, transpozycje. Sztuka romantyczna wobec wyzwań nowoczesności" Streszczenie-Artykuł poświęcony jest relacjom między przemianami dokonującymi się w estetyce romantycznej i romantycznej praktyce artystycznej a rewolucją medialną, która współtworzy kształt sztuki pierwszych dekad XIX wieku. Autorka analizuje w szczególności sposób, w jaki ekspansja druku-wynikająca z ewolucji ówczesnych technik reprodukcji tekstów, ale również partytur czy obrazów-oddziałuje na romantyczne wzorce pojmowania takich zagadnień estetycznych, jak relacja między oryginałem a kopią, między dziełem a jego interpretacją, między jego zapisem a wykonaniem. Punktem dojścia proponowanego studium jest stwierdzenie, iż w obliczu narastającego niebezpieczeństwa standaryzacji w sztuce, wywołującego u romantyków swoisty "lęk przed reprodukcją", ówcześni twórcy próbują wypracować nową koncepcję medium jako instancji spersonalizowanej i zindywidualizowanej, twórczo oddziałującej na kształt ich dzieł. To zaś sprzyja dowartościowaniu artystycznego potencjału samego procesu mediacji, który T. Gautier uczyni kluczowym komponentem swojej koncepcji transpozycji sztuk. Słowa kluczowe-romantyzm i media, estetyka romantyczna, transpozycje sztuk, intermedialność, związki literatury i muzyki,

The article is devoted to relationships between the transformations that take place in the Romantic aesthetics and artistic practice, and the media revolution that co-shaped the art of the first decades of the nineteenth century. The author analyses in particular the way in which the expansion of print – resulting from the evolution of the contemporary technologies that allowed for the reproduction of texts, as well as scores and paintings – influences the Romantic models of understanding of such issues as the relation between the original and the copy, between the work and its interpretation, between its record and execution. The endpoint for the proposed study is the thesis that, in the face of the growing danger of standardization in art, provoking in the Romantics a peculiar “fear of reproduction”, the contemporary artists try to realise a new concept of medium as a personalized and individualised instance, creatively affecting the shape of their works. This, in turn, favours an...

Young's essay demonstrates that true art requires originality for which the artist must develop an inward eye to explore his potential. Young emphasizes that the author of an original work needs to break free from the conformity of the rules of order, accuracy and structure of compositions and display his originality and uniqueness in his creation. Such artistic characteristic, which appeared like a conjecture in the Pre-romantic era, paved way for the modern artist's preoccupation with the question of aesthetic authenticity of his work.