German Lieder in the Nineteenth Century

Both real folk song and its imitations, then, ushered in an entirely new lyric style.2 Although German poets had been writing lieder for centuries preceding Herder, it is a peculiarity of the nineteenth-century art song's heritage that ...

German Lieder in the Nineteenth Century

German Lieder in the Nineteenth-Century provides a detailed introduction to the German lied. Beginning with its origin in the literary and musical culture of Germany in the nineteenth-century, the book covers individual composers, including Shubert, Schumann, Brahms, Strauss, Mahler and Wolf, the literary sources of lieder, the historical and conceptual issues of song cycles, and issues of musical technique and style in performance practice. Written by eminent music scholars in the field, each chapter includes detailed musical examples and analysis. The second edition has been revised and updated to include the most recent research of each composer and additional musical examples.

German Lieder in the Nineteenth Century

The second edition has been revised and updated to include the most recent research of each composer and additional musical examples.

German Lieder in the Nineteenth Century

German Lieder in the Nineteenth-Century provides a detailed introduction to the German lied. Beginning with its origin in the literary and musical culture of Germany in the nineteenth-century, the book covers individual composers, including Shubert, Schumann, Brahms, Strauss, Mahler and Wolf, the literary sources of lieder, the historical and conceptual issues of song cycles, and issues of musical technique and style in performance practice. Written by eminent music scholars in the field, each chapter includes detailed musical examples and analysis. The second edition has been revised and updated to include the most recent research of each composer and additional musical examples.

German Song Onstage

Lieder Performance in the Nineteenth and Early Twentieth Centuries Natasha Loges, Laura Tunbridge ... In German Lieder in the Nineteenth Century, edited by Rufus Hallmark, with an afterword by David Ferris, 363–404. 2nd ed.

German Song Onstage

A singer in an evening dress, a grand piano. A modest-sized audience, mostly well-dressed and silver-haired, equipped with translation booklets. A program consisting entirely of songs by one or two composers. This is the way of the Lieder recital these days. While it might seem that this style of performance is a long-standing tradition, German Song Onstage demonstrates that it is not. For much of the 19th century, the songs of Beethoven, Schubert, Schumann, and Brahms were heard in the home, salon, and, no less significantly, on the concert platform alongside orchestral and choral works. A dedicated program was rare, a dedicated audience even more so. The Lied was a genre with both more private and more public associations than is commonly recalled. The contributors to this volume explore a broad range of venues, singers, and audiences in distinct places and time periods—including the United States, the United Kingdom, Russia, and Germany—from the mid-19th century through the early 20th century. These historical case studies are set alongside reflections from a selection of today's leading musicians, offering insights on current Lied practices that will inform future generations of performers, scholars, and connoisseurs. Together these case studies unsettle narrow and elitist assumptions about what it meant and still means to present German song onstage by providing a transnational picture of historical Lieder performance, and opening up discussions about the relationship between history and performance today.

Nineteenth Century Music

In contrast , the French romance has a history more complicated than would seem to be the case if we simply accept the general verdict , issued from the standpoint of the German lied , that it was nothing but salon music for voice .

Nineteenth Century Music

A survey of the most popular period in music history details many of the socio-historical influences on music of this period, the impact of Beethoven's death, and the rise of grand opera.

Cheap Print and Popular Song in the Nineteenth Century

For example, a more exclusive focus is reflected in important early nineteenth-century single-language songsters such as Des Knaben Wunderhorn: Alte deutscher Lieder (The Boy's Magic Horn: Old German Songs), published in Heidelberg by ...

Cheap Print and Popular Song in the Nineteenth Century

This book is a cultural history of the nineteenth-century songster: pocket-sized anthologies of song texts, usually without musical notation. It examines the musical, social, commercial and aesthetic functions songsters served and the processes by which they were produced and disseminated, the repertory they included, and the singers, printers and entrepreneurs that both inspired their manufacture and facilitated their consumption. Taking an international perspective, chapters focus on songsters from Ireland, North America, Australia and Britain and the varied public and private contexts in which they were used and exploited in oral and print cultures.

Intimacy Performance and the Lied in the Early Nineteenth Century

Here I would like to address the characterization of 1800 as a central date for the lied's “first full, Romantic flowering.” Although the nineteenthcentury Romantic German lied has important antecedents in what has traditionally been ...

Intimacy  Performance  and the Lied in the Early Nineteenth Century

The German lied, or art song, is considered one of the most intimate of all musical genres—often focused on the poetic speaker's inner world and best suited for private and semi-private performance in the home or salon. Yet, problematically, any sense of inwardness in lieder depends on outward expression through performance. With this paradox at its heart, Intimacy, Performance, and the Lied in the Early Nineteenth Century explores the relationships between early nineteenth-century theories of the inward self, the performance practices surrounding inward lyric poetry and song, and the larger conventions determining the place of intimate poetry and song in the public concert hall. Jennifer Ronyak studies the cultural practices surrounding lieder performances in northern and central Germany in the first quarter of the nineteenth century, demonstrating how presentations of lieder during the formative years of the genre put pressure on their sense of interiority. She examines how musicians responded to public concern that outward expression would leave the interiority of the poet, the song, or the performer unguarded and susceptible to danger. Through this rich performative paradox Ronyak reveals how a song maintains its powerful intimacy even during its inherently public performance.

The Book of German Songs from the Sixteenth to the Nineteenth Century Translated and Edited by H W D With the Original German of Some of the Songs

Book The of German Songs : from The Sixteenth to the Nineteenth Century . Then Thu SCHILLES E THE TRANSLATED AND EDITED BY H. W. DULCKEN . LONDON : AND LOCK , 158 , FLEET STREET . WARD 1856 . Rais EDITOR'S PREFACE .

The Book of German Songs  from the Sixteenth to the Nineteenth Century  Translated and Edited by H  W  D   With the Original German of Some of the Songs


A Dictionary for the Modern Singer

Sensibility and English Song: Critical Studies of the Early Twentieth Century. New York: Cambridge University Press, ... Making Words Sing: Nineteenth- and TwentiethCentury Song. ... German Lieder in the Nineteenth Century, 2nd ed.

A Dictionary for the Modern Singer

Titles in the Dictionaries for the Modern Musician series offer both the novice and the advanced artist key information designed to convey the field of study and performance for a major instrument or instrument class, as well as the workings of musicians in areas from conducting to composing. Each dictionary covers topics from instrument parts to technique, major works to key figures—a must-have for any musician’s personal library! A Dictionary for the Modern Singer is an indispensable guide for students of singing, voice pedagogues, and lovers of the art of singing. In addition to classical singing, genres, and styles, musical theatre and popular and global styles are addressed. With an emphasis on contemporary practice, this work includes terms and figures that influenced modern singing styles. Topics include voice pedagogy, voice science, vocal health, styles, genres, performers, diction, and other relevant topics. The dictionary will help students to more fully understand the concepts articulated by their teachers. Matthew Hoch’s book fills a gap in the singer’s library as the only one-volume general reference geared toward today’s student of singing. An extensive bibliography is invaluable for students seeking to explore a particular subject in greater depth. Illustrations and charts further illuminate particular concepts, while appendixes address stage fright, tips on practicing, repertoire selection, audio technology, and contemporary commercial music styles. A Dictionary for the Modern Singer will appeal to students of singing at all levels. For professionals, it will serve as a quick and handy reference guide, useful in the high school or college library and the home teaching studio alike; students and amateurs will find it accessible and full of fascinating information about the world of the singing.

Words and Notes in the Long Nineteenth Century

Susan Youens is the J.W. Van gorkom Professor of Music at the university of notre dame and the author of eight books on german song in the nineteenth century, including Heinrich Heine and the Lied (2007), Schubert's Late Lieder: Beyond ...

Words and Notes in the Long Nineteenth Century

A new wave of scholarship inspired by the ways the writers and musicians of the long nineteenth century themselves approached the relationship between music and words.

The Harvard Dictionary of Music

J. W. Smeed, German Song and Its Poetry, 1740–1900 (New York, 1987). Studien zum deutschen weltlichen Kunstlied des 17. Und 18. Jahrhunderts (Wölfenbüttel, 1990). Lorraine Correll, The Nineteenth-Century German Lied (Portland, Ore., ...

The Harvard Dictionary of Music

This classic reference work, the best one-volume music dictionary available, has been brought completely up to date in this new edition. Combining authoritative scholarship and lucid, lively prose, the Fourth Edition of The Harvard Dictionary of Music is the essential guide for musicians, students, and everyone who appreciates music.

Songs in Motion

Rhythm and Meter in the German Lied Yonatan Malin ... vary from simple strophic settings to through-composed songs with complex piano parts and rich chromaticism, foreshadowing the musical language of the latter nineteenth century.

Songs in Motion

Qualities of motion and emotion in song come from poetic images, melody, harmony, and voice leading, but they also come from rhythm and meter-the flow and articulation of words and music in time. This book explores rhythm and meter in the nineteenth-century German Lied, including songs for voice and piano by Fanny Hensel née Mendelssohn, Franz Schubert, Robert Schumann, Johannes Brahms, and Hugo Wolf. The Lied, as a genre, is characterized especially by the fusion of poetry and music. Poetic meter itself has expressive qualities, and rhythmic variations contribute further to the modes of signification. These features often carry over into songs, even as they are set in the more strictly determined periodicities of musical meter. A new method of declamatory-schema analysis is presented to illustrate common possibilities for setting trimeter, tetrameter, and pentameter lines. Degrees of rhythmic regularity and irregularity are also considered. There has been a wealth of new work on metric theory and analysis in the past thirty years; here this research is reviewed and applied in song analysis. Topics include the nature of metric entrainment (drawing on music psychology), metric dissonance, hypermeter, and phrase rhythm. Whereas narrative accounts of the nineteenth-century Lied typically begin with Schubert, here forms of expansion and elision in songs by Hensel provide a point of departure. Repetition links up directly with motion in songs by Schubert, including his famous "Gretchen am Spinnrade." The doubling and reverberation of vocal melody creates a form of interiorized resonance in Schumann's songs. Brahms and Wolf are typically understood as polar opposites in the later nineteenth century; here the differences are clarified along with deeper affinities. Songs by both Brahms and Wolf may be understood as musical performances of poetic readings, and in this regard they both belong to a late period of cultural history.

Nineteenth Century Choral Music

... Editor Eighteenth-Century Keyboard Music, 2nd edition Robert L. Marshall, Editor Nineteenth-Century Piano Music, ... Editor Nineteenth-Century Chamber Music Stephen E. Hefling, Editor German Lieder in the Nineteenth Century Rufus ...

Nineteenth Century Choral Music

Nineteenth-Century Choral Music is an in-depth examination of the rich repertoire of choral music and the cultural phenomenon of choral music making throughout the period. The book is divided into three main sections. The first details the attraction to choral singing and the ways it was linked to different parts of society, and to the role of choral voices in the two principal large-scale genres of the period: the symphony and opera. A second section highlights ten choral-orchestral masterworks that are a central part of the repertoire. The final section presents overview and focus chapters covering composers, repertoire (both small and larger works), and performance life in an historical context from over a dozen regions of the world: Britain and Ireland, the Czech Republic, France, Germany, Hungary, Italy, Latin America, the Philippines, Poland, Russia, Scandinavia and Finland, Spain, and the United States. This diverse collection of essays brings together the work of 25 authors, many of whom have devoted much of their scholarly lives to the composers and music discussed, giving the reader a lively and unique perspective on this significant part of nineteenth-century musical life.

The Cambridge Companion to the Lied

He is the author of the essay on the eighteenth - century Lied for the revised edition of The New Grove Dictionary of ... Of Poetry and Music : Approaches to the German Lied in the Nineteenth Century , and an edition of the writings by ...

The Cambridge Companion to the Lied

Publisher Description

Voice Secrets

German Lieder Gorrell, Lorraine. The Nineteenth-Century German Lied. Portland, OR: Amadeus Press, 1993. Hallmark, Rufus. German Lieder in the Nineteenth Century. 2nd ed. New York: Routledge, 2009. Kramer, Lawrence.

Voice Secrets

In Voice Secrets: 100 Performance Strategies for the Advanced Singer, Matthew Hoch and Linda Lister create order out of the chaotic world of singing. They examine all aspects of singing, including nontechnical matters, such as auditioning, performance anxiety, score preparation, practice performance tips, business etiquette, and many other important topics for the advanced singer. Voice Secrets provides singers with a quick and efficient path to significant improvement, both technically and musically. It is the perfect resource for advanced students of singing, professional performers, music educators, and avid amateur musicians. The Music Secrets for the Advanced Musician series is designed for instrumentalists, singers, conductors, composers, and other instructors and professionals seeking a quick set of pointers to improve their work as performers and producers of music. Easy to use and intended for the advanced musician, contributions to Music Secrets fill a niche for those who have moved beyond what beginners and intermediate practitioners need.

The Nineteenth century German Lied

In his book , The Muse and the Fashion , the Russian composer Nicolay Medtner , also a composer of German song , made it clear ... the nineteenthcentury lied is a story of how composers chose to balance the forces of poetry and music .

The Nineteenth century German Lied

Studies the circumstances that converged in 19th-century Germany to elevate the art song to new heights, and looks in depth not only at the great lieder of the most renowned composers but at important contributions of the lesser-knowns. Amadeus Press is an imprint of Timber Press. Annotation copyright by Book News, Inc., Portland, OR

Schumann s Eichendorff Liederkreis and the Genre of the Romantic Cycle

Zur dramatisierenden Solocantate fehlt dem Liederkreise eigentlich nichts mehr als das Recitativ, und die arieartige ... John Daverio, "The Song Cycle: Journeys through a Romantic Landscape," in German Lieder in the Nineteenth Century, ...

Schumann s Eichendorff Liederkreis and the Genre of the Romantic Cycle

This new study draws on analysis, literary criticism, and source studies to propose a new conception of the nineteenth-century romantic cycle. Rather than a unified whole, the cycle is seen as a fragmentary and open-ended form, which enables Schumann to express the romantic themes of transcendence and ineffability in musical terms.

Women and the Nineteenth Century Lied

Pauline Viardot-Garcia ventured to produce settings of Pushkin in the genre of Russian Romance, described by Kadja Grönke as equivalent to the German Lied (Chapter 8). On the other hand, they were adventurous in seeking less obvious ...

Women and the Nineteenth Century Lied

This book bridges a gap in existing scholarship by foregrounding the contribution of women to the nineteenth-century Lied. Building on the pioneering work of scholars in recent years, it consolidates recent research on women’s achievements in the genre, and develops an alternative narrative of the Lied that embraces an understanding of the contributions of women, and of the contexts of their engagement with German song and related genres. Lieder composers including Fanny Hensel, Clara Schumann, Pauline Viardot-Garcia and Josephine Lang are considered with a stimulating variety of analytical approaches. In addition to the focus on composers associated with history and theory of the Lied, the various chapters explore the cultural and sociological background to the Lied’s musical environment, as well as engaging with gender studies and discussing performance and pedagogical contexts. The range of subject matter reflects the interdisciplinary nature of current research in the field, and the energy it generates among scholars and performers. Women and the Nineteenth-Century Lied aims to widen readers’ perception of the genre and help promote awareness of women’s contribution to nineteenth-century musical life through critical appraisal of the cultural context of the Lied, encouraging acquaintance with the voices of women composers, and the variety of their contributions to the repertoire.

Sourcebook for Research in Music Third Edition

Schubert's Goethe Settings. Aldershot, England: Ashgate, 2003. ... Making Words Sing: Nineteenth and TwentiethCentury Song. Cambridge: Cambridge University Press, 2004. ... Of Poetry and Song: Approaches to the NineteenthCentury Lied.

Sourcebook for Research in Music  Third Edition

Since it was first published in 1993, the Sourcebook for Research in Music has become an invaluable resource in musical scholarship. The balance between depth of content and brevity of format makes it ideal for use as a textbook for students, a reference work for faculty and professional musicians, and as an aid for librarians. The introductory chapter includes a comprehensive list of bibliographical terms with definitions; bibliographic terms in German, French, and Italian; and the plan of the Library of Congress and the Dewey Decimal music classification systems. Integrating helpful commentary to instruct the reader on the scope and usefulness of specific items, this updated and expanded edition accounts for the rapid growth in new editions of standard works, in fields such as ethnomusicology, performance practice, women in music, popular music, education, business, and music technology. These enhancements to its already extensive bibliographies ensures that the Sourcebook will continue to be an indispensable reference for years to come.