{"id":1359,"date":"2017-03-24T08:49:08","date_gmt":"2017-03-24T08:49:08","guid":{"rendered":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/?post_type=chapter&p=1359"},"modified":"2020-04-11T21:52:03","modified_gmt":"2020-04-11T21:52:03","slug":"art-song","status":"web-only","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/chapter\/art-song\/","title":{"raw":"Art song","rendered":"Art song"},"content":{"raw":"https:\/\/courses.lumenlearning.com\/vccs-tcc-mus121-1\/wp-admin\/post.php?post=528&action=edit<\/span>\r\n\r\nArt songs were such an integral part of the Romantic repertoire, particularly that of Schubert, Schumann, and Brahms. Because so many art songs in a Romantic style were composed by German composers, we often use the German word for songs, \"lieder,\" when studying this genre. An art song<\/b> is defined as a vocal music composition, usually written for one voice with piano accompaniment, and usually in the classical tradition. It is used to refer to the genre of songs\u00a0of a musical setting of an independent poem or text,\u00a0\"intended for the concert repertory\"\u00a0\"as part of a recital or other relatively formal social occasion. \u00a0Art songs have been composed in many languages, and are known by several titles. The German tradition of art song composition is perhaps the most prominent one; it is known as\u00a0Lieder<\/i>.\r\n\r\nStrophic, modified strophic, through composed:<\/strong> If all of the poem's verses are sung to the same music, the song is strophic<\/strong>. If the vocal melody remains the same but the accompaniment changes under it for each verse, the piece is called a \"modified strophic\"<\/strong> song.\u00a0In contrast, songs in which \"each section of the text receives fresh music\"\u00a0are called through-composed<\/strong>. Some through-composed works have some repetition of musical material in them.\r\n\r\nPerformance of art songs in recital involves special collaboration for both the singer and pianist. The piano is integral in the performance of the art song. The degree of intimacy \"seldom equaled in other kinds of music\"\u00a0requires that the two performers \"communicate to the audience the most subtle and evanescent emotions as expressed in the poem and music.\u00a0<\/em>Often the piano plays before the vocalist at the beginning of the song to establish \u00a0mood. It often plays at the end of the \u00a0song \u00a0to \u00a0preside over the the ending.\r\n\r\nhttps:\/\/courses.lumenlearning.com\/vccs-tcc-mus121-1\/wp-admin\/post.php?post=530&action=edit<\/span>\r\n

Two Listening examples are presented below : The \u00a0\"Erlkonig by Schubert\u00a0<\/span><\/h3>\r\n\u00a0\"Erlk\u00f6nig<\/span><\/b>\" \u00a0Schubert\r\n<\/span>This piece is one of the best-known lieder of the Romantic era and \u00a0one of Schubert's most famous compositions. It is through-composed in form. \u00a0The dramatic text is heightened by the fact that singers generally give the four characters featured in the poem slightly different tone qualities; a bit like an actor playing multiple parts.<\/em>\r\n\r\n[caption id=\"attachment_563\" align=\"alignright\" width=\"350\"]\"Figure<\/a> Figure 1. \"Erlk\u00f6nig\" illustration, Moritz von Schwind[\/caption]\r\n\r\n\"Erlk\u00f6nig<\/span><\/b>\" (also called \"Der Erlk\u00f6nig<\/span><\/b>\") \u00a0- is a poem by Johann Wolfgang von Goethe \u00a0depicting \u00a0the death of a child assailed by a supernatural being: the Erlking or \"Erlk\u00f6nig<\/span>\"\r\nAn anxious young boy is being carried home at night by his father on horseback. \u00a0The son \u00a0sees \u00a0and hears a \"supernatural\" \u00a0being talking to him which his father does not. The listener cannot know if the father is aware of this or not. \u00a0He comforts \u00a0his son, asserting reassuringly naturalistic explanations for what the child is \u00a0seeing and hearing. \u2014 \u00a0a wisp of fog, rustling leaves, shimmering willows. Finally the child shrieks that he has been attacked. The father makes faster for home<\/span><\/i>. There he recognizes that the boy is dead.\r\n

Text<\/span><\/strong><\/h3>\r\nhttps:\/\/youtu.be\/1_dighphz_A\r\n\r\n\"Der Erlk\u00f6nig<\/span>\" starts with \u00a0triplets in the piano to create a sense of urgency and simulate the horse's galloping. The left hand introduces a low-register leitmotif composed of successive triplets. The right hand consists triplets throughout the whole piece, up until the last three bars. The triplets drive forward \u00a0with \u00a0frequent modulations as it switches between the characters. This leitmotif \u00a0recurs throughout the piece - dark and ominous - \u00a0is directly associated with the Erlk\u00f6nig. \u00a0As the piece continues, the son\u2019s pleas become louder and higher in pitch than the last. Near the end of the piece the music quickens and then slows as the father spurs his horse to go faster. The silence from the piano at the end dramatizes the shock experienced by the father upon the realization that he had just lost his son to the elf king, despite desperately fighting to save the son from the elf king\u2019s grasps.\r\n\r\nListen to the Erlking. Below are descriptions of the piano and voice parts and the translations:\r\n<\/strong>(The Narrator part lies in the middle range and begins in the minor mode.\u00a0<\/span>The four characters in the song\u2014narrator, father, son, and the Erlking\u2014are usually all sung by a single vocalist with each character's part \u00a0placed in a different vocal range, with his own rhythmic nuances; and different vocal coloration for each part. Each character part \u00a0changes \u00a0between minor or major mode depending how each character intends to interact with the other characters.)<\/span>\r\n<\/strong>\r\n\r\n(\"Der Erlk\u00f6nig<\/span>\" starts with the piano rapidly playing triplets to create a sense of urgency and simulate the horse's galloping. The left hand of the piano part introduces a low-register leitmotif composed of successive triplets.\"Der Erlk\u00f6nig<\/span>\" starts with the piano rapidly playing triplets to create a sense of urgency and simulate the horse's galloping. The left hand of the piano part introduces a low-register leitmotif composed of successive triplets.)\r\n\r\nOriginal German with English translation below each stanza:\r\n<\/strong>Narrator (minor mode - middle range)\r\n<\/strong>Wer reitet so sp\u00e4t durch Nacht und Wind?\r\nEs ist der Vater mit seinem Kind;\r\nEr hat den Knaben wohl in dem Arm,\r\nEr fa\u00dft ihn sicher, er h\u00e4lt ihn warm.\r\n\r\nWho rides, so late, through night and wind?<\/em>\r\nIt is the father with his child.<\/em>\r\nHe holds the boy in the crook of his arm<\/em>\r\nHe holds him safe, he keeps him warm.<\/em>\r\n\r\nFather (low range)<\/strong>\r\n\"Mein Sohn, was birgst du so bang dein Gesicht?\"\r\n\r\n\"My son, why do you hide your face so anxiously?\"<\/em>\r\n\r\nSon high range\r\n<\/strong>\"Siehst, Vater, du den Erlk\u00f6nig nicht?\r\nDen Erlenk\u00f6nig mit Kron und Schweif?\"\r\n\r\n\"Father, do you not see the Elfking?<\/em>\r\nThe Elfking with crown and cloak?\"<\/em>\r\n\r\nFather - low range<\/strong>\r\n\"Mein Sohn, es ist ein Nebelstreif.\"\r\n\r\n\"My son, it's a wisp of fog.\"<\/em>\r\n\r\nErlking - major mode<\/strong>\r\n\"Du liebes Kind, komm, geh mit mir!\r\nGar sch\u00f6ne Spiele spiel' ich mit dir;\r\nManch' bunte Blumen sind an dem Strand,\r\nMeine Mutter hat manch g\u00fclden Gewand.\"\r\n\r\n\"You lovely child, come, go with me!<\/em>\r\nMany a beautiful game I'll play with you;<\/em>\r\nSome colourful flowers are on the shore,<\/em>\r\nMy mother has many golden robes.\"<\/em>\r\n\r\nSon - high range, frightened\r\n<\/strong>\"Mein Vater, mein Vater, und h\u00f6rest du nicht,\r\nWas Erlenk\u00f6nig mir leise verspricht?\"\r\n\r\n\"My father, my father, can't you hear,|\r\nWhat the Elfking quietly promised me?\"\r\n\r\nFather \u00a0- low range, calming\r\n<\/strong>\"Sei ruhig, bleib ruhig, mein Kind;\r\nIn d\u00fcrren Bl\u00e4ttern s\u00e4uselt der Wind.\"\r\n\r\n\"Be calm, stay calm, my child;\r\nThe wind rustles through dry leaves.\"\r\n\r\nErlking - <\/strong>\u00a0(major mode, cajoling - \u00a0The Erlking's lines are typically sung in a softer dynamic in order to contribute to the different color of sound).\r\n<\/strong>\"Willst, feiner Knabe, du mit mir gehen?\r\nMeine T\u00f6chter sollen dich warten sch\u00f6n;\r\nMeine T\u00f6chter f\u00fchren den n\u00e4chtlichen Reihn,\r\nUnd wiegen und tanzen und singen dich ein.\"\r\n\r\n\"Do you want to come with me, dear boy?<\/em>\r\nMy daughters shall wait on you fine;<\/em>\r\nMy daughters lead the nightly dances<\/em>\r\nAnd will rock and dance and sing you to sleep.\"<\/em>\r\n\r\nSon high range - dissonant outcry\r\n<\/strong>(Every time he sings the famous line \u201cMein Vater\u201d he sings it one step higher in each verse)\r\n<\/strong>\"Mein Vater, mein Vater, und siehst du nicht dort\r\nErlk\u00f6nigs T\u00f6chter am d\u00fcstern Ort?\"\r\n\r\n\"My father, my father, can't you hear,<\/em>\r\nthe Elfking's daughters in the shadows?\"<\/em>\r\n\r\nFather - low range\u00a0<\/strong>reassuring<\/b>\r\n\"Mein Sohn, mein Sohn, ich seh es genau:\r\nEs scheinen die alten Weiden so grau.\"\r\n\r\n\"Be calm, stay calm, my child;<\/em>\r\nThe wind rustles through dry leaves.\"<\/em>\r\n\r\nErlking - loving, \u00a0then insistent<\/strong>\r\n\"Ich liebe dich, mich reizt deine sch\u00f6ne Gestalt;\r\nUnd bist du nicht willig, so brauch ich Gewalt.\"\r\n\r\n\"Do you want to come with me, dear boy?<\/em>\r\nIf you are not willing, I will use force.\u00a0<\/em>\r\n\r\nSon \u00a0- high voice \u00a0terrified\r\n<\/strong>\"Mein Vater, mein Vater, jetzt fa\u00dft er mich an!\r\nErlk\u00f6nig hat mir ein Leids getan!\"\r\n\r\nMy father, my father, now he is touching me<\/em>\r\nThe Erlking has done me harm<\/em>\r\n\r\nNarrator middle register, speechlike\r\n<\/strong>Dem Vater grauset's, er reitet geschwind,\r\nEr h\u00e4lt in Armen das \u00e4chzende Kind,\r\nEr reicht den Hof mit M\u00fch' und Not;\r\nIn seinen Armen das Kind war tot.\r\n\r\nThe father shudders; he rides swiftly,<\/em>\r\nHe holds the moaning child in his arms.<\/em>\r\nHe can hardly manage to reach his farm;<\/em>\r\nIn his arms, the child was dead.<\/em>\r\n\r\nLiteral Translation \u00a0License \u00a0Standard YouTube License\r\n

Power Point Slide show - Early Romantic Styles and Forms<\/h3>\r\nhttps:\/\/courses.lumenlearning.com\/vccs-tcc-mus121-1\/wp-admin\/post.php?post=525&action=edit<\/span>\r\n\r\nHere is the powerpoint study guide for early Romantic music. It focuses on art song \u00a0(1-13) , piano \u00a0(14-22 - Check especially slide #20 and the term Rubato<\/span> ) character pieces, and program music including the Overture, Program Symphony, and Hector Berlioz.(23-33) .\r\n\r\nhttp:\/\/www.slideshare.net\/CandelaContent\/early-romanticmusicoer\r\n\r\nNote :Slide \u00a0Number 13\u00a0 (below) \u00a0suggests\u00a0 Du Ring an Minem Finger \u00a0(below).\r\n\r\nhttps:\/\/youtu.be\/PAGLjACv2tE\r\n\r\nOther selections suggested in the slide show are discussed in the other topics\u00a0 in this module\r\n\r\n \r\n

\u00a0Robert Schumann - In the Lovely Month of May<\/strong><\/span><\/h3>\r\nThis beautiful art song by Schumann is from his \u00a0Song cycle: Dichterliebe - \u00a0(A Poet's Love) composition of \u00a0sixteen songs composed to poems written by Heine in 1840. \u00a0You can view the \u00a0words and the \u00a0translation as you view the video. Obviously this art song is far less intense and dramatic than the Erlking.\r\nListen for the \u00a0\"poetic\" depiction of \u00a0spring in the vocal part and the part the piano plays in setting the mood at the beginning and its extended playing at the end.\r\n\r\nhttps:\/\/youtu.be\/S6ZnNDlE0lI\r\n\r\nListen to the art song\u00a0 (Du Ring an mienem Finger<\/em>\u00a0presented in the previous page\u00a0 Go through the power point relating to Art song\u00a0 (pages 1-14)","rendered":"

https:\/\/courses.lumenlearning.com\/vccs-tcc-mus121-1\/wp-admin\/post.php?post=528&action=edit<\/span><\/p>\n

Art songs were such an integral part of the Romantic repertoire, particularly that of Schubert, Schumann, and Brahms. Because so many art songs in a Romantic style were composed by German composers, we often use the German word for songs, “lieder,” when studying this genre. An art song<\/b> is defined as a vocal music composition, usually written for one voice with piano accompaniment, and usually in the classical tradition. It is used to refer to the genre of songs\u00a0of a musical setting of an independent poem or text,\u00a0“intended for the concert repertory”\u00a0“as part of a recital or other relatively formal social occasion. \u00a0Art songs have been composed in many languages, and are known by several titles. The German tradition of art song composition is perhaps the most prominent one; it is known as\u00a0Lieder<\/i>.<\/p>\n

Strophic, modified strophic, through composed:<\/strong> If all of the poem’s verses are sung to the same music, the song is strophic<\/strong>. If the vocal melody remains the same but the accompaniment changes under it for each verse, the piece is called a “modified strophic”<\/strong> song.\u00a0In contrast, songs in which “each section of the text receives fresh music”\u00a0are called through-composed<\/strong>. Some through-composed works have some repetition of musical material in them.<\/p>\n

Performance of art songs in recital involves special collaboration for both the singer and pianist. The piano is integral in the performance of the art song. The degree of intimacy “seldom equaled in other kinds of music”\u00a0requires that the two performers “communicate to the audience the most subtle and evanescent emotions as expressed in the poem and music.\u00a0<\/em>Often the piano plays before the vocalist at the beginning of the song to establish \u00a0mood. It often plays at the end of the \u00a0song \u00a0to \u00a0preside over the the ending.<\/p>\n

https:\/\/courses.lumenlearning.com\/vccs-tcc-mus121-1\/wp-admin\/post.php?post=530&action=edit<\/span><\/p>\n

Two Listening examples are presented below : The \u00a0“Erlkonig by Schubert\u00a0<\/span><\/h3>\n

\u00a0“Erlk\u00f6nig<\/span><\/b>” \u00a0Schubert
\n<\/span>This piece is one of the best-known lieder of the Romantic era and \u00a0one of Schubert’s most famous compositions. It is through-composed in form. \u00a0The dramatic text is heightened by the fact that singers generally give the four characters featured in the poem slightly different tone qualities; a bit like an actor playing multiple parts.<\/em><\/p>\n

\"Figure<\/a><\/p>\n

Figure 1. “Erlk\u00f6nig” illustration, Moritz von Schwind<\/p>\n<\/div>\n

“Erlk\u00f6nig<\/span><\/b>” (also called “Der Erlk\u00f6nig<\/span><\/b>“) \u00a0– is a poem by Johann Wolfgang von Goethe \u00a0depicting \u00a0the death of a child assailed by a supernatural being: the Erlking or “Erlk\u00f6nig<\/span>”
\nAn anxious young boy is being carried home at night by his father on horseback. \u00a0The son \u00a0sees \u00a0and hears a “supernatural” \u00a0being talking to him which his father does not. The listener cannot know if the father is aware of this or not. \u00a0He comforts \u00a0his son, asserting reassuringly naturalistic explanations for what the child is \u00a0seeing and hearing. \u2014 \u00a0a wisp of fog, rustling leaves, shimmering willows. Finally the child shrieks that he has been attacked. The father makes faster for home<\/span><\/i>. There he recognizes that the boy is dead.<\/p>\n

Text<\/span><\/strong><\/h3>\n