Lied is not the simple combination of melody and poem but particular art field which provides the formal unity of poem and music, which adds more deep affection to the contentment of poem by the technical elaboration of the piano accompaniment. In German lied, if we eliminate the piano accompaniment...
Lied is not the simple combination of melody and poem but particular art field which provides the formal unity of poem and music, which adds more deep affection to the contentment of poem by the technical elaboration of the piano accompaniment. In German lied, if we eliminate the piano accompaniment lied sounds to be the uncomplete work. The meaning of the term 'accompaniment' is variable and not subject to rigorous definition. But with the development of piano, status of accompaniment was more high. In this dissertation, I study the importance of 'accompaniment' which is a part among characteristics of Schubert's lied, by the way of which I investigate the pre-Schubert composers and analysis the pattern of the accompaniment on his 'Winterreise'. It was Schubert who, by fusing the verbal and musical components of the lied, first synthesized the new element. His lied reached the high level of music art by means of hormonizing poem and melody and piano accompaniment. Pre-Schubert composers paid less attention to lied than Schubert Handel composed only one lied, Haydn and Mozart made little contribution to 'accompaniment' considering their ability. Gluck's accompaniment chiefly put the importance to 'harmony' and Beethoven's accompaniment is like the instrumental work, especially there are the parts which remind us of piano sonatat in 'Adelaide'. In Schubert's lied, the role of piano accompaniment is no longer than the subsidiary part of any voices. It takes a equal role to other voices. It suggests the image of the work strongly in prelude and takes the interrelative role in interlude. Also the musical figures of the piano express the pictonal image on the text. Especially in 'Winterreise' he used many descriptive devices and it has psychologically deep sonority the characteristic features of piano accompaniment on 'Winterreise' are the same as follows: accompaniment unrelated with verbal melody (Ⅵ,Ⅹ), contrapuntal movement(ⅩⅩ), contrasting accompaniment pattern(□), the part which make the expressive effect by way of flow of the main melody under the broken harmony(Ⅴ) tremolo part(Ⅶ), especially, accompaniment like in the dependent small piano piece(□), the part which overcomes the repetitious motive by melodic interval change(□Ⅴ). In Schubert's lied, the role of accompaniment is the obvious character of his lied and has great effect of the following composers; Schuman, Brahms, Bolf R. Strauss etc.
Lied is not the simple combination of melody and poem but particular art field which provides the formal unity of poem and music, which adds more deep affection to the contentment of poem by the technical elaboration of the piano accompaniment. In German lied, if we eliminate the piano accompaniment lied sounds to be the uncomplete work. The meaning of the term 'accompaniment' is variable and not subject to rigorous definition. But with the development of piano, status of accompaniment was more high. In this dissertation, I study the importance of 'accompaniment' which is a part among characteristics of Schubert's lied, by the way of which I investigate the pre-Schubert composers and analysis the pattern of the accompaniment on his 'Winterreise'. It was Schubert who, by fusing the verbal and musical components of the lied, first synthesized the new element. His lied reached the high level of music art by means of hormonizing poem and melody and piano accompaniment. Pre-Schubert composers paid less attention to lied than Schubert Handel composed only one lied, Haydn and Mozart made little contribution to 'accompaniment' considering their ability. Gluck's accompaniment chiefly put the importance to 'harmony' and Beethoven's accompaniment is like the instrumental work, especially there are the parts which remind us of piano sonatat in 'Adelaide'. In Schubert's lied, the role of piano accompaniment is no longer than the subsidiary part of any voices. It takes a equal role to other voices. It suggests the image of the work strongly in prelude and takes the interrelative role in interlude. Also the musical figures of the piano express the pictonal image on the text. Especially in 'Winterreise' he used many descriptive devices and it has psychologically deep sonority the characteristic features of piano accompaniment on 'Winterreise' are the same as follows: accompaniment unrelated with verbal melody (Ⅵ,Ⅹ), contrapuntal movement(ⅩⅩ), contrasting accompaniment pattern(□), the part which make the expressive effect by way of flow of the main melody under the broken harmony(Ⅴ) tremolo part(Ⅶ), especially, accompaniment like in the dependent small piano piece(□), the part which overcomes the repetitious motive by melodic interval change(□Ⅴ). In Schubert's lied, the role of accompaniment is the obvious character of his lied and has great effect of the following composers; Schuman, Brahms, Bolf R. Strauss etc.
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