EPOUND-L Archives

- Ezra Pound discussion list of the University of Maine


Options: Use Forum View

Use Monospaced Font
Show Text Part by Default
Condense Mail Headers

Message: [<< First] [< Prev] [Next >] [Last >>]
Topic: [<< First] [< Prev] [Next >] [Last >>]
Author: [<< First] [< Prev] [Next >] [Last >>]

Print Reply
- Ezra Pound discussion list of the University of Maine <[log in to unmask]>
"<Margaret Fisher> DIGEST" <[log in to unmask]>
Wed, 3 Jul 2013 14:50:16 -0700
text/plain; charset=ISO-8859-1; format=flowed
- Ezra Pound discussion list of the University of Maine <[log in to unmask]>
text/plain (38 lines)
  Dear Friends,

Second Evening Art has just released its first e-book on Ezra Pound's 
music. We invite you to take a look:

Vol. I The Echo of Villon in Ezra Pound's Music and Poetry, Toward a 
Theory of Duration Rhyme 
by Margaret Fisher
$5.00 or free for Amazon Prime members

"The Echo of Villon," first of two volumes on the relationship of music 
and great bass to the poetry of Ezra Pound, brings together essays 
written for diverse publications. An Introduction and Brief History 
provide background to Ezra Pound as a composer. The principal essay, 
drawn from the 1923 facsimile edition of /Le Testament/ score (Pound's 
opera to words by François Villon) traces the role of music and of 
Villon in Pound's oeuvre. Using computer-assisted analysis of Pound's 
recorded readings of his poetry, the author demonstrates how Pound 
applied the relative temporal durations of elements in his 
poems---vowels, syllables, words, phrases and verse lines---and the 
precise proportions that result from those relations to arrive at the 
great bass of a new poetic based on time durations. Musical structures 
in the poetry came into view as if the poems had been X-rayed. Pound's 
extensive compositional activities in the 'teens, '20s and '30s began to 
make sense as a means of creating quantitative structure from time 
durations and relations to give metrical shape to poetry that included 
many languages. Pound was able to "cut a shape in time" using the 
relative durations of elapsed time.

Margaret Fisher is author of "Ezra Pound's Radio Operas, The BBC 
Experiments (1931-1933)" [The MIT Press]; and "The Recovery of Ezra 
Pound's Third Opera: /Collis O Heliconii/, Settings of Poems by Catullus 
and Sappho" [Second Evening Art]. With Robert Hughes she co-edited the 
Complete Music of Ezra Pound in five volumes. Recently she translated 
Pino Masnata's unpublished manuscript on Futurist radio art, "Radia, A 
Gloss of the 1933 Futurist Radio Manifesto" [Second Evening Art].