Anart song is a Westernvocal musiccomposition, usually written for one voice with piano accompaniment, and usually in the classical art music tradition. By extension, the term "art song" is used to refer to the collective genre of such songs (e.g., the "art song repertoire").[1] An art song is most often a musical setting of an independent poem or text,[1] "intended for the concert repertory"[2] "as part of a recital or other relatively formal social occasion".[3] While many vocal music pieces are easily recognized as art songs, others are more difficult to categorize. For example, a wordless vocalise written by a classical composer is sometimes considered an art song[1] and sometimes not.[4]
Bar five of Schubert's art song entitled Nacht und Träume. The vocal part, including the melody notes and the text, is in the top stave. The two staves below are the piano part.
Other factors help define art songs:
Songs that are part of a staged work (such as an aria from an opera or a song from a musical) are not usually considered art songs.[5] However, some Baroque arias that "appear with great frequency in recital performance"[5] are now included in the art song repertoire.
Songs with instruments besides piano (e.g., cello and piano) and/or other singers are referred to as "vocal chamber music", and are usually not considered art songs.[6]
Songs originally written for voice and orchestra are called "orchestral songs" and are not usually considered art songs, unless their original version was for solo voice and piano.[7]
Folk songs and traditional songs are generally not considered art songs, unless they are art music-style concert arrangements with piano accompaniment written by a specific composer[8] Several examples of these songs include Aaron Copland's two volumes of Old American Songs, the Folksong arrangements by Benjamin Britten,[9] and the Siete canciones populares españolas (Seven Spanish Folksongs) by Manuel de Falla.
There is no agreement regarding sacred songs. Many song settings of biblical or sacred texts were composed for the concert stage and not for religious services; these are widely known as art songs (for example, the Vier ernste GesängebyJohannes Brahms). Other sacred songs may or may not be considered art songs.[10]
A group of art songs composed to be performed in a group to form a narrative or dramatic whole is called a song cycle.
Art songs have been composed in many languages, and are known by several names. The German tradition of art song composition is perhaps the most prominent one; it is known as Lieder. In France, the term mélodie distinguishes art songs from other French vocal pieces referred to as chansons. The Spanish canción and the Italian canzone refer to songs generally and not specifically to art songs.
The composer's musical language and interpretation of the text often dictate the formal design of an art song. If all of the poem's verses are sung to the same music, the song is strophic. Arrangements of folk songs are often strophic,[1] and "there are exceptional cases in which the musical repetition provides dramatic irony for the changing text, or where an almost hypnotic monotony is desired."[1] Several of the songs in Schubert's Die schöne Müllerin are good examples of this. If the vocal melody remains the same but the accompaniment changes under it for each verse, the piece is called a "modified strophic" song. In contrast, songs in which "each section of the text receives fresh music"[1] are called through-composed. Most through-composed works have some repetition of musical material in them. Many art songs use some version of the ABA form (also known as "song form" or "ternary form"), with a beginning musical section, a contrasting middle section, and a return to the first section's music. In some cases, in the return to the first section's music, the composer may make minor changes.
Performance of art songs in recital requires special skills for both the singer and pianist. The degree of intimacy "seldom equaled in other kinds of music"[1] requires that the two performers "communicate to the audience the most subtle and evanescent emotions as expressed in the poem and music".[1] The two performers must agree on all aspects of the performance to create a unified partnership, making art song performance one of the "most sensitive type(s) of collaboration".[1] As well, the pianist must be able to closely match the mood and character expressed by the singer. Even though classical vocalists generally embark on successful performing careers as soloists by seeking out opera engagements, a number of today's most prominent singers have built their careers primarily by singing art songs, including Dietrich Fischer-Dieskau, Thomas Quasthoff, Ian Bostridge, Matthias Goerne, Wolfgang Holzmair, Susan Graham and Elly Ameling. Pianists, too, have specialized in playing art songs with great singers. Gerald Moore, Geoffrey Parsons, Graham Johnson, Dalton Baldwin, Hartmut Höll and Martin Katz are six such pianists who have specialized in accompanying art song performances. The piano parts in art songs can be so complex that the piano part is not really a subordinate accompaniment part; the pianist in challenging art songs is more of an equal partner with the solo singer. As such, some pianists who specialize in performing art song recitals with singers refer to themselves as "collaborative pianists", rather than as accompanists.
Hall, James Husst (1953), The Art Song, Norman, Oklahoma: University of Oklahoma Press
Ivey, Donald (1970), Song: Anatomy, Imagery, and Styles, New York: The Free Press, ISBN0-8108-5217-9
Soumagnac, Myriam (1997). "La Mélodie italienne au début du XXe siècle", in Festschrift volume, Échoes de France et d'Ialie: liber amicorum Yves Gérard (jointly ed. by Marie-Claire Mussat, Jean Mongrédien & Jean-Michel Nectoux). Buchet-Chastel. p. 381–386.
Walter, Wolfgang (2005), Lied-Bibliographie (Song Bibliography): Reference to Literature on the Art Song, Frankfurt am Main: Peter Lang, ISBN08204-7319-7
