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よく一緒に購入されている商品
商品の説明
Book Description
Sebesta has provided vivid, literal translations of composer Carl Orff's selections from the Medieval Latin poems of the Carmina Burana. These poems celebrate the universal range of human emotion and experience: passion, longing, exuberance, humor, rebellion,ennui, resignation. Now tender, now tragic; secular yet reverent; the poems of the Carmina touch the chords of our purest and darkest spirituality.
--このテキストは、 ペーパーバック 版に関連付けられています。
--このテキストは、 ペーパーバック 版に関連付けられています。
From the Publisher
The Carmina Burana set to music by composer Carl Orff is an immensely popular part of the repertoire of symphonies and choral groups internationally. Sebesta's unique edition provides:
- a dual language edition with original Latin poems and facing English translation
- 18 medieval woodcut prints and 17 original illustrations
- facing vocabulary
- glossary
- essays on medieval poetry and Latin, the selections, and Carl Orff
- text suitable for use as a libretto
- An additional literary translation by Jeffrey M. Duban
- a dual language edition with original Latin poems and facing English translation
- 18 medieval woodcut prints and 17 original illustrations
- facing vocabulary
- glossary
- essays on medieval poetry and Latin, the selections, and Carl Orff
- text suitable for use as a libretto
- An additional literary translation by Jeffrey M. Duban
The usefulness of this book in the classroom is attested by the following: "This book was an invaluable resource to me while student teaching. . . . My pupils were third-year Latin students at a public high school. As a person who holds degrees in Music and Latin . . . I am eager to find ways to bridge the two fields in my own Latin classroom." Lisa H. Altevogt.
--このテキストは、
ペーパーバック
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カスタマーレビュー
Amazon.com で最も参考になったカスタマーレビュー (beta)
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4件のカスタマーレビュー
16 人中、14人の方が、｢このレビューが参考になった｣と投票しています。
Terrible!
2001/7/16
形式:ペーパーバック
This is essentially a text book.
The level of writing makes it appear that this book is intended for the instruction of adolescents, and considering the rather recent date of publication they would have to be remarkably atypically "innocent" for this day and age. The questions intended to stimulate discussion are embarrassingly simpleminded in many cases. It is difficult to imagine that this book wouldn't be laughed out of the classroom by most of today's students.
An appendix in the back of the book contain an acceptable translation of the Latin lyrics by someone other than the author. However, the body of the book contains the author's renderings of the Latin poems as well as her comments. What she has done to the poems is a travesty - even as "free" renderings they go way beyond what is acceptable in giving an unfamiliar audience an understanding of the originals.
This has almost nothing to recommend it - there are many that are better.
7 人中、6人の方が、｢このレビューが参考になった｣と投票しています。
This is a very good book.
2003/3/28
形式:ペーパーバック
Sebesta's Cantiones Profanae is excellent as BOTH a textbook and an analysis of this beautiful medieval poetry. Sebesta's translations make for good reading, and the original text with glossaries on the opposing page make this a textbook conducive to both learning and reading for pleasure. We used this book in my university Latin class, and it was both challenging and insightful. It gives a glimpse into medieval European life not often shown in most history classes. I heartily recommend this book.
2 人中、1人の方が、｢このレビューが参考になった｣と投票しています。
Adequate, but this subject needs a better book
2006/10/12
形式:ペーパーバック
Carmina Burana has become one of the favorite compositions of the 20th century, Carl Orff's setting of the profane medieval Goliard poems has been performed countless times and the opening movement is recognizable by nearly everybody.
Judith Lynn Sebesta has written a book about the text and Orff's music, while some reviewers seem to think the book is intended for adolescents, the complexities of the questions and the illustrations suggest otherwise.
The information in the book is useful. After an overview of the Goliards and the history of the text, Sebesta breaks the Latin text up into segments. Within these segments are the Latin text with definitions, a poetic English translation, and analysis of the text and Orff's setting of the music. The final section contains an alternate English translation.
There are several great things about this book. First, there's nothing else like this out there right now, so it remains a good source. Sebesta is effective at analyzing the text and areas of special interest. The illustrations are also interesting additions, and the Latin definitions can be helpful. For these reasons, this book is recommended to anyone performing CB.
This book is far from perfect. Sebesta asks direct questions of the reader about the relationship between text and music. While this engages the reader's thought, Sebesta provides few answers, making the book less of a resource.
In addition, the book seems to have a fragmented structure. One has little idea what to expect when one turns to the next page. Moreover, the musical analysis is quite lacking.
Despite its shortcomings, this seems to be the best book out there on the subject. Hopefully there will be a Cambridge Music Handbook or a similar publication regarding CB which will be of the quality which it deserves.
Judith Lynn Sebesta has written a book about the text and Orff's music, while some reviewers seem to think the book is intended for adolescents, the complexities of the questions and the illustrations suggest otherwise.
The information in the book is useful. After an overview of the Goliards and the history of the text, Sebesta breaks the Latin text up into segments. Within these segments are the Latin text with definitions, a poetic English translation, and analysis of the text and Orff's setting of the music. The final section contains an alternate English translation.
There are several great things about this book. First, there's nothing else like this out there right now, so it remains a good source. Sebesta is effective at analyzing the text and areas of special interest. The illustrations are also interesting additions, and the Latin definitions can be helpful. For these reasons, this book is recommended to anyone performing CB.
This book is far from perfect. Sebesta asks direct questions of the reader about the relationship between text and music. While this engages the reader's thought, Sebesta provides few answers, making the book less of a resource.
In addition, the book seems to have a fragmented structure. One has little idea what to expect when one turns to the next page. Moreover, the musical analysis is quite lacking.
Despite its shortcomings, this seems to be the best book out there on the subject. Hopefully there will be a Cambridge Music Handbook or a similar publication regarding CB which will be of the quality which it deserves.
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