Vocal Piano Accompaniment: A Constant Research Towards Emancipation (2)

Jose Maria Peñalver Vilar; Luis Valles Grau

doi:doi:10.11648/j.ellc.20200501.13

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Vocal Piano Accompaniment: A Constant Research Towards Emancipation (2)

Jose Maria Peñalver Vilar, Luis Valles Grau

Published in English Language, Literature & Culture (Volume 5, Issue 1)

Received: 28 November 2019 Accepted: 13 January 2020 Published: 4 February 2020

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Abstract

This is the second and last article in the series dedicated to the investigation of the evolution of vocal piano accompaniment through history and the role-played by the piano in its relationship with the voice. If the previous chapter focused from the beginnings of piano accompaniment to Franz Schubert, this one will take up again the analysis of the piano part from the last lieder of Franz Schubert to Arnold Schoenberg. The research method used continues to be based on the musical analysis of the piano part, addressing both issues of the piano itself and its link with the text and the vocal part. By means of musical examples of different composers, the article investigates all those aspects that provide evidence of the change in the role of the piano in the correspondence of the piano with the voice and its repercussion on the final result of the work. In this way, we will look at the history of piano accompaniment for voice and see how the influence of Schubert's conception of vocal piano accompaniment materializes in contemporary and later composers, as well as the crucial change in the history of the piano as an accompanying instrument introduced by Schubert. The results and conclusions drawn from the evolution presented in these two articles are presented at the end of the article, based on the different aspects involved in the musical event, such as rhythm, harmony or texture.

Published in	English Language, Literature & Culture (Volume 5, Issue 1)
DOI	10.11648/j.ellc.20200501.13
Page(s)	25-35
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

Keywords

Piano, Music, Accompaniment, Voice, Schubert

References

[1]	CASABLANCAS, B. (1997): "Quietud y trance. En torno a la última obra para piano de Franz Schubert (notas sobre los albores del romanticismo musical)", en Quodlibet, revista de música, vol. 7. Universidad Alcalá de Henares.
[2]	CLARK, S. (2011): Analyzing Schubert. Cambridge University Press.
[3]	DAMSCHRODER, D. (2014): Harmony in Schubert. Cambridge University Press.
[4]	FISCHER-DIESKAU, D. (1989): Los lieder de Schubert. Alianza Música. Madrid.
[5]	DAVERIO, J. (2002): Crossing paths: Schubert, Schumann and Brahms. Oxford University Press.
[6]	ELSON, L. C. (1888): History of German Song. New England Conservatory of Music. Boston.
[7]	YOUENS, S. (1992): Hugo Wolf: the vocal music. Princeton University Press.
[8]	HALLMARK, R. (1996): German lieder in the nineteenth century. Schirmer Books, Londres.
[9]	SAMS, E. (1993): The songs of Hugo Wolf. Indiana University Press. 1993.
[10]	NOSKE, F. (2012): French song from Berlioz to Duparc. Dover Publications, Nueva York.
[11]	BERNAC, P. (1978): The interpretation of French Song. W. W. Norton & Company’s editor, Nueva York.
[12]	FRISCH, W. (1993): The early works of Arnold Schoenberg, 1893-1908. University of California Press, Berkeley.

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Jose Maria Peñalver Vilar, Luis Valles Grau. (2020). Vocal Piano Accompaniment: A Constant Research Towards Emancipation (2). English Language, Literature & Culture, 5(1), 25-35. https://doi.org/10.11648/j.ellc.20200501.13

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Jose Maria Peñalver Vilar; Luis Valles Grau. Vocal Piano Accompaniment: A Constant Research Towards Emancipation (2). Engl. Lang. Lit. Cult. 2020, 5(1), 25-35. doi: 10.11648/j.ellc.20200501.13

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Jose Maria Peñalver Vilar, Luis Valles Grau. Vocal Piano Accompaniment: A Constant Research Towards Emancipation (2). Engl Lang Lit Cult. 2020;5(1):25-35. doi: 10.11648/j.ellc.20200501.13

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@article{10.11648/j.ellc.20200501.13,
  author = {Jose Maria Peñalver Vilar and Luis Valles Grau},
  title = {Vocal Piano Accompaniment: A Constant Research Towards Emancipation (2)},
  journal = {English Language, Literature & Culture},
  volume = {5},
  number = {1},
  pages = {25-35},
  doi = {10.11648/j.ellc.20200501.13},
  url = {https://doi.org/10.11648/j.ellc.20200501.13},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ellc.20200501.13},
  abstract = {This is the second and last article in the series dedicated to the investigation of the evolution of vocal piano accompaniment through history and the role-played by the piano in its relationship with the voice. If the previous chapter focused from the beginnings of piano accompaniment to Franz Schubert, this one will take up again the analysis of the piano part from the last lieder of Franz Schubert to Arnold Schoenberg. The research method used continues to be based on the musical analysis of the piano part, addressing both issues of the piano itself and its link with the text and the vocal part. By means of musical examples of different composers, the article investigates all those aspects that provide evidence of the change in the role of the piano in the correspondence of the piano with the voice and its repercussion on the final result of the work. In this way, we will look at the history of piano accompaniment for voice and see how the influence of Schubert's conception of vocal piano accompaniment materializes in contemporary and later composers, as well as the crucial change in the history of the piano as an accompanying instrument introduced by Schubert. The results and conclusions drawn from the evolution presented in these two articles are presented at the end of the article, based on the different aspects involved in the musical event, such as rhythm, harmony or texture.},
 year = {2020}
}

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T1  - Vocal Piano Accompaniment: A Constant Research Towards Emancipation (2)
AU  - Jose Maria Peñalver Vilar
AU  - Luis Valles Grau
Y1  - 2020/02/04
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AB  - This is the second and last article in the series dedicated to the investigation of the evolution of vocal piano accompaniment through history and the role-played by the piano in its relationship with the voice. If the previous chapter focused from the beginnings of piano accompaniment to Franz Schubert, this one will take up again the analysis of the piano part from the last lieder of Franz Schubert to Arnold Schoenberg. The research method used continues to be based on the musical analysis of the piano part, addressing both issues of the piano itself and its link with the text and the vocal part. By means of musical examples of different composers, the article investigates all those aspects that provide evidence of the change in the role of the piano in the correspondence of the piano with the voice and its repercussion on the final result of the work. In this way, we will look at the history of piano accompaniment for voice and see how the influence of Schubert's conception of vocal piano accompaniment materializes in contemporary and later composers, as well as the crucial change in the history of the piano as an accompanying instrument introduced by Schubert. The results and conclusions drawn from the evolution presented in these two articles are presented at the end of the article, based on the different aspects involved in the musical event, such as rhythm, harmony or texture.
VL  - 5
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Author Information

Jose Maria Peñalver Vilar
Luis Valles Grau

Music Department, Valencian International University, Valencia, Spain

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Plain Text BibTeX RIS

APA Style

Jose Maria Peñalver Vilar, Luis Valles Grau. (2020). Vocal Piano Accompaniment: A Constant Research Towards Emancipation (2). English Language, Literature & Culture, 5(1), 25-35. https://doi.org/10.11648/j.ellc.20200501.13

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ACS Style

Jose Maria Peñalver Vilar; Luis Valles Grau. Vocal Piano Accompaniment: A Constant Research Towards Emancipation (2). Engl. Lang. Lit. Cult. 2020, 5(1), 25-35. doi: 10.11648/j.ellc.20200501.13

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AMA Style

Jose Maria Peñalver Vilar, Luis Valles Grau. Vocal Piano Accompaniment: A Constant Research Towards Emancipation (2). Engl Lang Lit Cult. 2020;5(1):25-35. doi: 10.11648/j.ellc.20200501.13

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@article{10.11648/j.ellc.20200501.13,
  author = {Jose Maria Peñalver Vilar and Luis Valles Grau},
  title = {Vocal Piano Accompaniment: A Constant Research Towards Emancipation (2)},
  journal = {English Language, Literature & Culture},
  volume = {5},
  number = {1},
  pages = {25-35},
  doi = {10.11648/j.ellc.20200501.13},
  url = {https://doi.org/10.11648/j.ellc.20200501.13},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ellc.20200501.13},
  abstract = {This is the second and last article in the series dedicated to the investigation of the evolution of vocal piano accompaniment through history and the role-played by the piano in its relationship with the voice. If the previous chapter focused from the beginnings of piano accompaniment to Franz Schubert, this one will take up again the analysis of the piano part from the last lieder of Franz Schubert to Arnold Schoenberg. The research method used continues to be based on the musical analysis of the piano part, addressing both issues of the piano itself and its link with the text and the vocal part. By means of musical examples of different composers, the article investigates all those aspects that provide evidence of the change in the role of the piano in the correspondence of the piano with the voice and its repercussion on the final result of the work. In this way, we will look at the history of piano accompaniment for voice and see how the influence of Schubert's conception of vocal piano accompaniment materializes in contemporary and later composers, as well as the crucial change in the history of the piano as an accompanying instrument introduced by Schubert. The results and conclusions drawn from the evolution presented in these two articles are presented at the end of the article, based on the different aspects involved in the musical event, such as rhythm, harmony or texture.},
 year = {2020}
}

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TY  - JOUR
T1  - Vocal Piano Accompaniment: A Constant Research Towards Emancipation (2)
AU  - Jose Maria Peñalver Vilar
AU  - Luis Valles Grau
Y1  - 2020/02/04
PY  - 2020
N1  - https://doi.org/10.11648/j.ellc.20200501.13
DO  - 10.11648/j.ellc.20200501.13
T2  - English Language, Literature & Culture
JF  - English Language, Literature & Culture
JO  - English Language, Literature & Culture
SP  - 25
EP  - 35
PB  - Science Publishing Group
SN  - 2575-2413
UR  - https://doi.org/10.11648/j.ellc.20200501.13
AB  - This is the second and last article in the series dedicated to the investigation of the evolution of vocal piano accompaniment through history and the role-played by the piano in its relationship with the voice. If the previous chapter focused from the beginnings of piano accompaniment to Franz Schubert, this one will take up again the analysis of the piano part from the last lieder of Franz Schubert to Arnold Schoenberg. The research method used continues to be based on the musical analysis of the piano part, addressing both issues of the piano itself and its link with the text and the vocal part. By means of musical examples of different composers, the article investigates all those aspects that provide evidence of the change in the role of the piano in the correspondence of the piano with the voice and its repercussion on the final result of the work. In this way, we will look at the history of piano accompaniment for voice and see how the influence of Schubert's conception of vocal piano accompaniment materializes in contemporary and later composers, as well as the crucial change in the history of the piano as an accompanying instrument introduced by Schubert. The results and conclusions drawn from the evolution presented in these two articles are presented at the end of the article, based on the different aspects involved in the musical event, such as rhythm, harmony or texture.
VL  - 5
IS  - 1
ER  -

Copy | Download