This article represents the first one in a series of two that investigate the evolution of vocal piano accompaniment through history and the role of the piano in its relationship with the voice. The research method used is musical analysis focused on the piano part, both in itself and its link with the text and the vocal part. The research method used is musical analysis centred on the piano part, both in itself and its link with the text and the vocal part. Initially, some preliminary questions necessary to establish a starting point around the piano accompaniment are addressed. Then, by means of musical examples of different composers following a chronological order, the article investigates all those aspects that provide evidence of the change in the role of the piano in the correspondence between the piano and the voice. In this way we will observe the trajectory of piano accompaniment to the voice and we will see how Schubert conceived the piano in vocal works with piano accompaniment. This new conception will influence both contemporary and later composers. The treatment of this influence will be dealt with in the second article. In the present article we will establish the basis of the functioning of piano accompaniment in compositions prior to Schubert, starting from the Ancient Italian aria (the beginnings of piano accompaniment) to his first lieder. We will observe the different dialogue between voice and piano that starts from the dependence of the piano in the beginnings towards its participation in the final result of the work with a decisive role. Schubert will articulate this drift, as will be seen. However, the results and conclusions, taking into account the whole evolutionary perspective of piano accompaniment, will be presented in the second article.
| Published in | English Language, Literature & Culture (Volume 5, Issue 1) |
| DOI | 10.11648/j.ellc.20200501.12 |
| Page(s) | 13-24 |
| Creative Commons |
This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited. |
| Copyright |
Copyright © The Author(s), 2024. Published by Science Publishing Group |
Piano, Music, Accompaniment, Voice, Schubert
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| [2] | RATTALINO, P. (2005): Historia del piano: el instrumento, la música y sus intérpretes. Idea Books, Barcelona. |
| [3] | LATHAM, A. (2008): Diccionario enciclopédico de la música. Fondo de Cultura económica, México D. F. |
| [4] | HÖWELER, C. (1977): Enciclopedia de la música. Editorial Noguer, Barcelona. |
| [5] | PÉREZ, M (1985): Diccionario de la música y los músicos. Ediciones ISTMO, Madrid. |
| [6] | ZAMACOIS, J.: Curso de formas musicales. Editorial Labor. Barcelona, 1994. |
| [7] | CANDÉ, R. De (1997): Diccionari de la música. Edicions 62, Barcelona. |
| [8] | RANDEL, M. (1997): Diccionario Harvard de la Música. Alianza, Madrid. |
| [9] | SADIE, S. / TYRRELL. J. (2001): The New Grove Dictionary of Music and Musicians. Oxford. Londres. |
| [10] | CASARES, E. (1999): Diccionario de la música española e hispanoamericana. SGAE, Madrid. |
| [11] | GIRALT, J. (2001): Gran Enciclopedia de la música. Fundació Enciclopedia catalana, Barcelona. |
| [12] | COLÀS, J. (2005): Gran Vox Diccionario de la Música. Spes editorial, Barcelona. |
| [13] | MICHELS, U. (2009): Atlas de música, vol. I. Alianza editorial, Madrid. |
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APA Style
Jose Maria Peñalver Vilar, Luis Valles Grau. (2020). Vocal Piano Accompaniment: A Constant Research Towards Emancipation (1). English Language, Literature & Culture, 5(1), 13-24. https://doi.org/10.11648/j.ellc.20200501.12
ACS Style
Jose Maria Peñalver Vilar; Luis Valles Grau. Vocal Piano Accompaniment: A Constant Research Towards Emancipation (1). Engl. Lang. Lit. Cult. 2020, 5(1), 13-24. doi: 10.11648/j.ellc.20200501.12
AMA Style
Jose Maria Peñalver Vilar, Luis Valles Grau. Vocal Piano Accompaniment: A Constant Research Towards Emancipation (1). Engl Lang Lit Cult. 2020;5(1):13-24. doi: 10.11648/j.ellc.20200501.12
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Download@article{10.11648/j.ellc.20200501.12,
author = {Jose Maria Peñalver Vilar and Luis Valles Grau},
title = {Vocal Piano Accompaniment: A Constant Research Towards Emancipation (1)},
journal = {English Language, Literature & Culture},
volume = {5},
number = {1},
pages = {13-24},
doi = {10.11648/j.ellc.20200501.12},
url = {https://doi.org/10.11648/j.ellc.20200501.12},
eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ellc.20200501.12},
abstract = {This article represents the first one in a series of two that investigate the evolution of vocal piano accompaniment through history and the role of the piano in its relationship with the voice. The research method used is musical analysis focused on the piano part, both in itself and its link with the text and the vocal part. The research method used is musical analysis centred on the piano part, both in itself and its link with the text and the vocal part. Initially, some preliminary questions necessary to establish a starting point around the piano accompaniment are addressed. Then, by means of musical examples of different composers following a chronological order, the article investigates all those aspects that provide evidence of the change in the role of the piano in the correspondence between the piano and the voice. In this way we will observe the trajectory of piano accompaniment to the voice and we will see how Schubert conceived the piano in vocal works with piano accompaniment. This new conception will influence both contemporary and later composers. The treatment of this influence will be dealt with in the second article. In the present article we will establish the basis of the functioning of piano accompaniment in compositions prior to Schubert, starting from the Ancient Italian aria (the beginnings of piano accompaniment) to his first lieder. We will observe the different dialogue between voice and piano that starts from the dependence of the piano in the beginnings towards its participation in the final result of the work with a decisive role. Schubert will articulate this drift, as will be seen. However, the results and conclusions, taking into account the whole evolutionary perspective of piano accompaniment, will be presented in the second article.},
year = {2020}
}
TY - JOUR T1 - Vocal Piano Accompaniment: A Constant Research Towards Emancipation (1) AU - Jose Maria Peñalver Vilar AU - Luis Valles Grau Y1 - 2020/01/31 PY - 2020 N1 - https://doi.org/10.11648/j.ellc.20200501.12 DO - 10.11648/j.ellc.20200501.12 T2 - English Language, Literature & Culture JF - English Language, Literature & Culture JO - English Language, Literature & Culture SP - 13 EP - 24 PB - Science Publishing Group SN - 2575-2413 UR - https://doi.org/10.11648/j.ellc.20200501.12 AB - This article represents the first one in a series of two that investigate the evolution of vocal piano accompaniment through history and the role of the piano in its relationship with the voice. The research method used is musical analysis focused on the piano part, both in itself and its link with the text and the vocal part. The research method used is musical analysis centred on the piano part, both in itself and its link with the text and the vocal part. Initially, some preliminary questions necessary to establish a starting point around the piano accompaniment are addressed. Then, by means of musical examples of different composers following a chronological order, the article investigates all those aspects that provide evidence of the change in the role of the piano in the correspondence between the piano and the voice. In this way we will observe the trajectory of piano accompaniment to the voice and we will see how Schubert conceived the piano in vocal works with piano accompaniment. This new conception will influence both contemporary and later composers. The treatment of this influence will be dealt with in the second article. In the present article we will establish the basis of the functioning of piano accompaniment in compositions prior to Schubert, starting from the Ancient Italian aria (the beginnings of piano accompaniment) to his first lieder. We will observe the different dialogue between voice and piano that starts from the dependence of the piano in the beginnings towards its participation in the final result of the work with a decisive role. Schubert will articulate this drift, as will be seen. However, the results and conclusions, taking into account the whole evolutionary perspective of piano accompaniment, will be presented in the second article. VL - 5 IS - 1 ER -
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