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John Dowland
Thomas Campion |
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composers (voice and lute) no piano existed. Music was meant for private performanceis.
It was after the 19th century that art song really came about |
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(1563-1626) 16th and 17th century
First Great English Composer
Strophic
3 verses
Light String Instrumentation
Solo singing or in a round of 4 singers |
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Come again sweet love, doth now invite
In darkness let me dwell |
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1567-1620 16th and 17th century
Most prolific of the lutenists
If thou longst so much to learn
Shall I come, sweet love to the |
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1659-1695 17th century
Semi-Operas/ Masques
Theater composer
Singer
One of a kind in setting English poetry to music
Style: more florid than earlier lute music
Use of Harpsichord |
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Music for a while
I attempt from Loves sickness
Man is for the woman made
Hark the echoing from Fairy Queen |
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(1862-1934) 19th century
Lived also in Florida and France
Wrote in many languages, fluent in many languages
Chose modern composers
Exception of Elizabethan texts and Percy Shelley
Style: harmonically developed, improvisatory quality, expression and emotion important |
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Irmelin Rose
Twilight fancies (Norwegian Poetry)
Love's Philosophy (Percy Shelley)
Il pleure de mon coer (Paul Verlain |
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1872-1958
Collector of folk songs
brought back english folk music from extinction
Folk song movement, and folk song distinct British Sound. |
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Simple
Folk song inspired and tonalities
modal, melismatic
Strong melodic line composer |
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Linden Lea
Silent Noon (Dante Rosetti)
The House of Life (Baritone Cycle)
Songs of Travel (Browningaritone Cycle)
I have trod the upward and downward Slope |
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(1877-1953)
Set to music the best English Poetry
Melodic, not "new music"
melody combined well with prosody
Harmony not instrusive
Edwardian Era |
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Loves Philosophy
Now Sleeps the Crimson Petal
O Mistress Mine
Fair House of Joy
Go, lovely Rose |
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1879-1962
Folk Song Style
Strong Harmonic style gave body to songs: Showcasing moods, and imagery
Chromatic yet still lyrical
Nature |
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I have twelve Oxen
Spring Sorrow
Sea Fever |
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| Facts on British Composers |
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Definition
Excelled in writing lyrical literature.
Didn't push the boundaries like Berg and Schoenberg (second Viennese school) |
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Influenced by Ralph Vaughn Williams
A Shropshire Ladd (Set A. E Housman)
- Loveliest of Trees
- When I was young and twenty |
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The next Purcell especially in Opera
Affinity for language and poetry |
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Charm of lullabies (SEt)
Seven sonnets of michael angelo (set italian)
Winter words (set |
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| Seven Sonnets of Michael Angelo |
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Definition
Italian
Idiomatic, fluid language
first important set
Poet: Thomas Hardy
song : At day close in November |
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| Robert Berns and William Blake |
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Definition
Poets who britten used in A charm of Lullabies.
A Cradle Song ( Blake) About loss of innocence, also found in many of Brittens songs
Highland Balou( Robert Burns) |
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1923-1977
Woman composer , singer actress
Accompanied herself
big range of tessitura |
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7 shakespeare songs: no. 1 blow blow thou winter wind
5 Betjeman Songs |
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1934-
Professor of American Music outside the U.S
Three comic songs |
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b. 1944
coined term: Minimalism
Michael Nyman Band
Experimental Music: Book
Film Scores (Draftman's Contract, Movie)
Man who mistook his wife for a hat: Opera
Six Ceylon Sogs |
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B. 1959
Ariel: Acapella with Electronics
Flight, Pinocchio (Opera) |
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B. 1960
British Composer, lives in America
Collection of songs 1979-2008 |
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B. 1971
Potter her face
Tempest (Performed at Met)
Life Story op. 8b, Inspired by John Dowland's : Let me dwell in darkness
Five Elliot Landscapes
The lover in Winter : Modo frigescit quidquid est |
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Said to have begun 1814 when Schubert composed Gretchen am Spinnrade
High Romantic Lied: Evolved from this |
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(1791-1828)
Descriptive, coloristic accompaniment
Melody
Influenced by the popular Ballad of England and Scotland
acommpaniment and voice interaction, piano sets the stage and narrates |
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1810-1856
Accompaniment and Vocal line are partners
Piano is equally important (having preludes, interludes, postludes)
miniaturist: sets of song stories (little dramas)
Frauenliebe und Leben
Dichterliebe
Liederkreis |
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Emphasis on melody and bass lines
Classic Tonality
Balanced relationship between piano and voice
Don't really portray the poetry
Not known for choosing the 'best poetry' unknown unpopular poets. |
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1860-1903
sensitivity to literature
fusion of prosody (word) and tone)
motives and illustration of poetry within accompaniment
Wagnerian influence
Piano gives a background for the poem |
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genre of German folk song that came before the lied
translation: love songs
Like troubadours |
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Foundation for the German lied in 18th cenury
Performed in Theater Singspiels
Strophic, simple accomapniments |
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First of the German composers to give importance to the lied. Inspired Schubert
"New piano"
First Song cycle: An die ferne Geliebte
Adelaide op. 46 |
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Narrative song-poem with a rhythm adapted for singing
"Song dance"
dramatic dialogues (miniature drama)
Song form popular in England and Scotland.
Influenced Schubert
Composer: Zumsteeg influenced Carl Loewe and Schubert
Develped the drama of the story and relationship between piano and the voice. |
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| Johann Wolfgang von Goethe |
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Definition
(1749-1832)
New lyricism in German poetry
Freer form, expressive and awareness of self. |
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| Goethe, Heine, Eichendorff, Rückert, Möricke, Müller, Geibel, Uhland, were poets whose texts were important in the development of German Songs.Themes are: nature, night, longing, moonlight, fantasy, magic. |
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Beethoven
First Song Cycle
interactions of accompaniment and vocal line |
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Developed from Lied- in 19th century
Schubert'sDie schoöne Muüllerin, Winterreise
Schumann's Dichterliebe
- led to orchestral cycles |
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1732-1809
She never told her love: Shakespeare
A pastoral Song: Hunter
Wrote his songs in 3 staves instead of two. |
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1756-1791
Wrote songs in all languages
Volkstümliches: didn't like writing them
Das Veilchen
Ridente la calma |
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| Johann Carl Gottfried Loewe |
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Definition
1796-1869
Believed ballads to be more important than lieder because of their action instead of narration.
First to create ballads whose musical settings equaled the text
Not as musically inventived, compared to schubert
Goethe preffered Loewe's simpler approach bc it didn't disturb the poetry.
ex. Erlkonig |
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Gretchen Am Spinnrade
Erlkoönig
Ganymed
Ständchen
An die Musik
Die Frelle
Nacht und Träme
Die junge Nonne
Im Früling
An den Mond
Die Schoöne Müllerin
Winterreise |
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Schubert's second song cycle
Written in two parts
monodrama
Poet : Wilhelm Müller |
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Bildersprache: Imagery
Weiss, Schwarz, blau, |
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1805-1847
Mendehlssohn's Sister
Wasn't supported by her family or brother to continue |
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1809-1847
Midsummer Night's dream, composed at 17 never surpassed his other vocal writing.
Restrained and superficial (opinion)
Auf Flügeln des Gesanges
Bei der Wiege
Nachtlied |
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1813-1883
With exception of Wesendonck Lieder, his big musical style did not adapt to smaller forms.
Mignonne: salon romance
Les deux Grenadiers (Die Beiden grenadieren) |
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Richard Wagner and Mathilda Wesendonck love affair.
Prelude to music and inspiration of Tristan und Isolde |
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| Johannes Brahms Folksongs |
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Definition
Gypsy songs
Composed in folksong styles |
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| Johannes Brahms Classical |
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Definition
Von ewiger liebe
Immer leiser wirt mein schummer |
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Definition
Wrote sets based on poets
Moricke Lieder
Er Ists
Früh wann die Hähne kräh'n
Spanisches lieder
Italianisches lieder
Goethe Lieder
Kennst du da land
Die Sprode
Eigendorf Lieder |
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1860-1911
three main Stages of composition:
1880-1885, 1889-1899, 1901-1904. |
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| Gustav Mahler First Compositional Period |
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Definition
Three books of Liedre un Gesänge aus der Jugenzeit (V +P)
Includes: 9 Settings of Des Knaben Wunderhorn
Lieder eines fahrenden Gesellen(V + O) |
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1889-1899
14 More settings of Wunderhorn poems with O |
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| 1901-1904 Kindertotenlieder (Rückert) V +O |
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Lyricist, Melody: Simple but demanding.
Word painting
Attention to prospody |
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Definition
1864-1949
Orchestral colors
20th Century main composer |
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1869-1949
Tradition of Schumann, Brahms, Wagner
Tone painting, musical motives of bells and birdsongs
Chromatic with linear polyphony
Also a music critic. |
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Term
| Arnold Schoenberg (1874-1951) |
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Definition
Part of the second viennese school
developed 12 tone row
Most complex work for voice: The book of the Hanging Gardnes (Das Buch der hängenden Gärten op 15. |
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Of the tradition of Hugo Wolf and Richard Strauss
1882-1964 |
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1885-1935
Musically Self taught
Pupil of Arnold Schoenberg
Early Period: Reflected Schumann, musically influenced by Debussy and Impressionism, Also Strauss and Mahler influenced him. |
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| Second or (New Viennese School |
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Definition
| Arnold Schoenberg, Alban Berg, Anton Webern |
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Definition
Not a complete serialist, lyrical line and still has osme tonal reference.
stacked harmonies, contrapuntal techniques, evolving rhythms, (Constructive) |
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(1897-1957)
Child Prodigy
German Romantic Compositional trandition.
Influences: Wofl, Strauss, Mahler, Marx
Filmscorer |
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Definition
1900-1950
German Composer
Composed in Germany, France, America
Assimilated in all cultures
Classical and Broadway |
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Definition
Spans 130 years from Berlioz to Poulenc
descendant from French song: Romance, 18th
melodie emerged in the middle of 19th century |
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Definition
| 18th century song form characterized by its simplicity. |
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Term
| development of French melodie |
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Definition
Because of the decline in artistic level of romance
Schubert's leader was popular
new romantic poetry gave composers much new material to work with, as well as styles and techniques.
Hector Berlioz Nuits d'ete: first french melodie cycle
Through development, it adopted freeer forms, more lyric vocal declamation, increased expressiveness in accompaniment.
Eventually melodies acquired a certain blend of style. |
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Term
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Definition
First to call his short vocal pieces melodies
Early songs: strophic, like the romance .
Early melodie: Irlande, closer to Romance style. text: Thomas Moore.
Preferred orchestration for colors.
Melody is primary, though main focus of music is not alway in melody itself but interaction with accompaniment.
Much use of dim 7th chords. , sequences, sometimes bitonality. Poetry dictates form. |
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Definition
Berlioz, 1841 first french melodie cycle.
5 songs
synthesis between text and music.
motives, descriptive accompaniment, interaction of voice and piano |
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| French melodie important developmental composers |
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Definition
Liszt, David, eyer, Reber, Gounod, Sain-Saëns, Massé, Bizet, Délibes, Massenet, Franck, Lalo. Came to be refined through use of higher literary value, greater unity of word, tone, blend of style and refinement with Duparc, Chabrier, Chausson, Faure.
It was with composers like Satie, Hahn, Ravel, Arlbert Roussel, and Jacques Leguerney: the later french composers that developed the rich harmonic style and clarity of expression in the melodie.
"Clarity of expression, precision, concentration of form" Debussy.
"art of suggestion, expressing moods and impression than precise emotion." Bernac
French song blends precision with lyricism and demands that teh performer communicate with elegance and wit. |
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| Inspirational french melodie (poets |
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Definition
| Theophile Gautier, Victor Hugo, Charles Baudelaire, |
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Term
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Definition
Interest in musical resonance of words
alliterations. Produced melodies that enhanced the poetry even more. Faure: La Bonne chanson, cinq melodies de Venise and Debussy: Ariettes oubliees, Fetes galantes. |
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Definition
1899-1963
added 150 melodies.
Dominant french composer
part of Les Six
matched music to style of the poet.
2/3 of Songs meant for Pierre Bernac ( baritone)
Considered last great proponent of the melodie |
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Term
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Definition
Parisian Composers: Georges Auric, Louis Durey, Arthur Honegger, Darius Milhaud, Germain Tailleferre, Francis Poulenc. Influenced by Erik Satie and writer : Jean Cocteu.
Focused on clairty and precision of music, not fond of impressionism and over Romanticism. |
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Definition
1906-1997
Contemporary with Poulenc,
Wrote to Renaissance texts, last substantial body of song in the Great french tradition.
Virtuosic piano accompaniments.
Piano and Voice are equal
Early Stage like Ravel, Later Stage like Poulenc |
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Definition
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Definition
1818-1893
Termed, father of melodie.
Careful attention to versiciation.
Early songs, through strophic, reflect a style of the beginning of the French melodie.
Elegance, sense of proportion. |
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Definition
Woman Composer 1821-1910
Also a singer, Sapho by Gounod is written for her.
Wrote music with big range reflected her own voice, composed and performed her pieces, herself. |
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Definition
1822-1890
Strophic settings, chordal accompaniment in block, broken or arpegiation, dence harmonic chromatic texture, simple cvocal lines.
Poets: Hugo, Muset. Not as accurate in setting prosody. |
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Definition
1838=1875
forceful rhythmic style, dramatic sense beyond Gounod's. Like Brahms, didn't choose outstanding poetry with the exception of Victor Hugo. |
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Definition
1841-1894
Small number of melodies,
Male quality about them. |
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Definition
1848-1933
Only sixteen songs
Perfectionist, destroyed many of his songs.
Against vocal exhibition
Most songs meant for high voice, exception of Au pays ou se fait la guerre, testament,(M.) La vague et la cloche (L) |
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Definition
(1855-1899)
Excelled in smaller forms,
Melody : important, begin in lower range and ascend.
Balanced and simple,
Ternary forms.
Most songs have repetitive pattern. |
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Term
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Definition
1845-1924
"perfected the melodie"
express borader range of emotion, greater variety of musical textures than earlier melodies. Inspired new techniques, extended musical parameters.
Elegant and rational approach.
Sentimental rather than Sensual.
Emotion not overt, it emerges from the text setting.
"Forward movement" (Tempo) |
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Definition
Singer,
Interpreter of Faure |
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Term
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Definition
1860-64
Le papillon et la fluer,
Chanson du pecheur,
chant d'automne
Mai
Hymne
Lydia
Au bord de le'eua
Apres un reve
Parnassian School of Poets
Tuneful Sentimentality of early french song, Strophic, Accompaniment has scales and triads. |
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Term
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Definition
1880-1904
Used a lot of Paul Verlaine's poetry
Incerased modality, subtle harmonic touches, motives linking elements,
Texture and musical complexity
Nell
Les Berceux
LEs Roses d'Ispahan
Cin melodies de Venise (verlaine)
Le Bonne Chanson (V)
Claire de lune (V)
Arpege
L'Horizon Chimerique |
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Term
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Definition
1862-1918
Blend poetry and music, like no other french composer, (translate poetic expression into musical nuance.
Detailed score markings
Importance on tonal color
Impressionism
French counterpart of Hugo Wolf. |
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Definition
(1857-1944)
Woman composer, never studied at university but studied privately with the great.
Concert Pianist
Popular in States |
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Term
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Definition
1866-1925
Father figure to avant garde composers like Debussy, stravinsky, |
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Term
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Definition
1869-1937
Eclectic
Impressionistic
after 1925- neoclassic
Influenced by Debussy and Ravel |
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Term
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Definition
1874-1947
Salon style
Avoid over display , modest vocal range, melodious songs.
Accompaniment: ostinator figures
Within tradition of Gounod and Massenet. |
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Term
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Definition
1875-1937
flow, and evenness of rhythm structure.
technical accuracy like Debussy.
exalt inflezions of speech
Affinity for medieval and exotic music
Driving rhythms i.e dance rhythms from Spain.
Transitional composer from Debusy to Les Six |
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Term
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Definition
1890-1962
Contemporary of Ravel Also wrote Don quichotte songs.
Chosen for a movie instead of Ravel's
Film director: Georg Pabst
Russian Bass Feodor Chaliapin. |
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Term
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Definition
1892-1974
Member of Les Six
Lyric fragments, vocal lines are small in range, recitative quality
Chamber like interaction between voice and piano, none predominate.
Ostinato and Polytonality is used.
Style" dépouillé ( stripped to the essentials) |
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Definition
1893-1918
Descended from Impressionist School
quiet musical quality, solemn.
Experimentation with form and style |
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