In The Transparency of Great Bass, Margaret Fisher examines Ezra Pound’s Great Bass as a theory of rhythm and rhythmic influence against the backdrop of seminal works on harmony from medieval times to the twentieth century: Dante, Franco of Cologne, Thomas Campion, Jean-Phillipe Rameau, Hermann von Helmholtz, Arnold Schoenberg and Henry Cowell, among others. In this setting, Pound’s great bass joins the long-standing practical and theoretical inquiry concerning the bass part and bass function in music, itself part of a larger ongoing investigation of human perception informed by musical cognition.
This is the second of two volumes on the influence of music and rhythm in the poetry of Ezra Pound.
Pay with Paypal. Consider Bundling this e-book with Fisher's Vol. I, The Echo of Villon in Ezra Pound's Music and Poetry for just $14.00 on Ganxy https://ganxy.com/i/111943/
Margaret Fisher is author of Ezra Pound's Radio Operas, The BBC Experiments (1931-1933) (The MIT Press, 2002), winner of the annual Ezra Pound Society Prize for most valued contribution to the field. Among her extensive catalogue of published works on Pound's music are The Recovery of Ezra Pound's Third Opera: Collis O Heliconii, Settings of Poems by Catullus and Sappho, and The Echo of Villon in Ezra Pound's Music and Poetry, Toward a Theory of Duration Rhyme. With Robert Hughes, she co-edited the series The Complete Music of Ezra Pound in five volumes for Second Evening Art Publishing. In 2008 she received the Rome Prize for work on early Italian Radio and Italian Futurist Radio. RADIA, her translation of Pino Masnata's gloss of the 1933 Futurist Radio Manifesto is published by Second Evening Art (2012).