Talk:Knoxville: Summer of 1915

message: "Technically difficult" statement:
Can some soprano confirm whether this sentence taken from the article is logical?
"Knoxville is not regarded as being technically difficult (for instance, the highest B-flat is to only be hit piano)"
I'm a tenor, not a soprano, but the statement in parentheses doesn't corroborate the main statement for me.  Singing piano, if anything, would make the B-flat harder, not easier.  Even if it were a little easier, having a B-flat as the highest note doesn't at all suggest that the piece is not technically difficult.  Maybe it makes sense for sopranos though.  --66.240.10.170 21:18, 21 May 2007 (UTC)
thread_title: "Technically difficult" statement

message: :Image:Knoxville-Spirit.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.
Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Wikipedia:Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.
If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page.  Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 10:42, 5 June 2007 (UTC)
thread_title: Fair use rationale for Image:Knoxville-Spirit.jpg

message: :Image:Knoxville-Ninths.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.
Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Wikipedia:Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.
If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page.  Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 10:42, 5 June 2007 (UTC)
thread_title: Fair use rationale for Image:Knoxville-Ninths.jpg

message: See  for instance, based on an interview with the author. Schissel | Sound the Note! 17:47, 8 January 2008 (UTC)
thread_title:  Knoxville not written for Steber 

message: The article has been improved, and brought into agreement with WP's policies, by removing all of the following, along with some smaller passages:
===Agee's text as excerpted by Barber===
Barber chose only excerpts of "Knoxville" for his composition, but his Knoxville, Summer of 1915, in many ways, parallels Agee's text. Agee was touched by the death of his father in his childhood, while Barber was, during the time of composition, enduring his father's deteriorating health. The two men were similarly aged. Most importantly, however, the two men were so compelled by nostalgia and inspiration that they (supposedly) wrote their pieces quickly and without much revision. The spontaneity of both the text and the music illustrate this reverie of the American south with an ease and honesty that sharply contrasts the paradigm of "multiple-draft writing," but with technical mastery nonetheless.
===Summary===
The text of Knoxville, Summer of 1915 does not tell a story. It is a poetic evocation of life as seen from the perspective of a small boy. It is full of alliteration ("people in pairs", "parents on porches", "sleep, soft smiling", "low on the length of lawns"). The point is that nothing is happening; the adults sit on the porch and talk "of nothing in particular, of nothing at all". Their voices are "gentle and meaningless, like the voices of sleeping birds". A horse and a buggy go by, a loud auto, a quiet auto, a noisy streetcar. The members of the family lie on quilts, in the yard (as was not unusual on a hot summer evening, before air conditioning). "The stars are wide and alive, they all seem like a smile of great sweetness, and they seem very near". The family members are described as a child would, quoting a grown-up: "One is an artist, he is living at home. One is a musician, she is living at home." The key people are the parents, his father and mother, who are both "good to me". The boy is "one familiar and well-beloved in that home". The text alludes to some tragedy to come: "May God bless my people, my uncle, my aunt, my mother, my good father, oh, remember them kindly in their time of trouble; and in the hour of their taking away". 
The boy includes philosophical commentary: "By chance, here they are, all on this earth; and who shall ever tell the sorrow of being on this earth, lying, on quilts, on the grass, in a summer evening, among the sounds of the night". He is "taken in and put to bed", and is received by sleep. Yet the one thing he can never learn in that house, that no one will ever tell him, is "who I am". With this sense of lack, of future, of responsibility, the piece ends.
===Musical structure===
The beginning of the piece, describing a warm summer's evening, is particularly lyrical in comparison to Agee's earlier passages in the same work.  Barber capitalizes on the lyricism of this section through his use of word painting: "Talking casually" in measures 23–24, "increasing moan" in measures 65–66, "the faint swinging bell rises again..." in measure 79.
The introduction concludes, and the reverie is interrupted abruptly; we are thrown into an allegro agitato, where Barber carries a simple horn-like motive in the woodwinds and horns. Staccato and pizzicato lines add to the chaos. Like the introduction, the imagery is vivid but intangible yet—this passage has all the clearness of a dream, but we are unclear what it means.  The soprano again clarifies the imagery: "a streetcar raising its iron moan; stopping; belling and starting, stertorous; rousing and raising again its iron increasing moan." The noisy, metallic texture persists, interrupted by a notably pointed excursion, "like a small malignant spirit set to dog its tracks." Describing the spark above the trolley car as a spirit following it closely, Barber uses staccato woodwinds and pizzicato strings in walking chromaticism to illustrate this image.
After the streetcar fades, the soprano begins a lyrical passage "now is the night one blue dew."  Here the soprano reaches the highest note of the entire work, a B-flat sung piano. After this, we return to a rough interpretation of the first theme; this time the harp carries the "rocking" theme alone. This brief return to familiarity smoothly transitions into a passage where the narrator has changed from describing the summer's eve to contemplating grander things: "On the rough wet grass of the backyard my father and mother have spread quilts..." As was common before air conditioning, people would spend evenings outside their houses. Here adults and the narrator are lying down on quilts, talking sparsely and idly. In relative silence, the narrator, still a child, contemplates the vastness of the stars and "his people," sitting quietly with "larger bodies than mine." Thematically, the orchestra is closest to the introductory section before the rocking, consisting of a repetitive exchange between the bassoon and the other woodwinds.
The section ends particularly poignantly, with the narrator counting off the people present, ending with "one is my father who is good to me." The orchestra breaks into an agitated section, characterized musically by leaps of ninths and seconds. We see here that the text has struck a chord with Barber, whose father was grievously ill at the time, drawing a parallel between Agee's father (his text is "strictly autobiographical") in 1915 and Samuel Barber's father at the time of writing in 1947.
The childlike recollection of the summer's evening now turns abruptly, seriously "who shall ever tell the sorrow of being on this earth," again hitting the high B-flat. The narrator then asks for the blessing of the aforementioned people, and moves into a final re-entry of the original theme, while the narrator talks about being put to bed. The piece ends with the instruments calmly rising, almost floating, reinforcing the dreamlike aspects of the piece.
deisenbe (talk) 02:33, 11 October 2015 (UTC)
replies: text: One presumes you have some issue with the removal of unsubstantiated material and wild speculation?—Jerome Kohl (talk) 06:25, 11 October 2015 (UTC)
thread_title:  Removal of more than half the article 

message: The beginning of the piece, describing a warm summer's evening, is particularly lyrical in comparison to Agee's earlier passages in the same work.  Barber capitalizes on the lyricism of this section through his use of word painting: "Talking casually" in measures 23–24, "increasing moan" in measures 65–66, "the faint swinging bell rises again..." in measure 79.
The introduction concludes, and the reverie is interrupted abruptly; we are thrown into an allegro agitato, where Barber carries a simple horn-like motive in the woodwinds and horns. Staccato and pizzicato lines add to the chaos. Like the introduction, the imagery is vivid but intangible yet—this passage has all the clearness of a dream, but we are unclear what it means.  The soprano again clarifies the imagery: "a streetcar raising its iron moan; stopping; belling and starting, stertorous; rousing and raising again its iron increasing moan." The noisy, metallic texture persists, interrupted by a notably pointed excursion, "like a small malignant spirit set to dog its tracks." Describing the spark above the trolley car as a spirit following it closely, Barber uses staccato woodwinds and pizzicato strings in walking chromaticism to illustrate this image.
After the streetcar fades, the soprano begins a lyrical passage "now is the night one blue dew."  Here the soprano reaches the highest note of the entire work, a B-flat sung piano. After this, we return to a rough interpretation of the first theme; this time the harp carries the "rocking" theme alone. This brief return to familiarity smoothly transitions into a passage where the narrator has changed from describing the summer's eve to contemplating grander things: "On the rough wet grass of the backyard my father and mother have spread quilts..." As was common before air conditioning, people would spend evenings outside their houses. Here adults and the narrator are lying down on quilts, talking sparsely and idly. In relative silence, the narrator, still a child, contemplates the vastness of the stars and "his people," sitting quietly with "larger bodies than mine." Thematically, the orchestra is closest to the introductory section before the rocking, consisting of a repetitive exchange between the bassoon and the other woodwinds.
The section ends particularly poignantly, with the narrator counting off the people present, ending with "one is my father who is good to me." The orchestra breaks into an agitated section, characterized musically by leaps of ninths and seconds. We see here that the text has struck a chord with Barber, whose father was grievously ill at the time, drawing a parallel between Agee's father (his text is "strictly autobiographical") in 1915 and Samuel Barber's father at the time of writing in 1947.
The childlike recollection of the summer's evening now turns abruptly, seriously "who shall ever tell the sorrow of being on this earth," again hitting the high B-flat. The narrator then asks for the blessing of the aforementioned people, and moves into a final re-entry of the original theme, while the narrator talks about being put to bed. The piece ends with the instruments calmly rising, almost floating, reinforcing the dreamlike aspects of the piece.
deisenbe (talk) 02:33, 11 October 2015 (UTC)
replies: text: One presumes you have some issue with the removal of unsubstantiated material and wild speculation?—Jerome Kohl (talk) 06:25, 11 October 2015 (UTC)
thread_title: Musical structure