Lieder No. 14 - 15 - Score

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Daverio, John. Fabb, Nigel and Morris Halle. Meter in Poetry: A New Theory. Cambridge: Cambridge University Press. Finson, Jon. Robert Schumann: The Book of Songs. Halle, John and Fred Lerdahl. Krebs, Harald. Roe Min Kok and Laura Tunbridge, — New York: Oxford University Press. Mahlert, Ulrich. Munich: Musikverlag Emil Katzbichler. Bernhard Appel, — Mainz: Schott. Malin, Yonatan.


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Oehrle, R. Paul Kiparsky and Gilbert Youmans, 87— San Diego: Academic Press.


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Perrey, Beate. Rohr, Deborah. Stein, Deborah and Robert Spillman. Poetry into Song: Performance and Analysis of Lieder. Tunbridge, Laura. Return to text. The analytical approach is introduced in Krebs a. My earlier analyses of declamation in these songs appeared in Krebs , —74 and —77, respectively. See the Appendix for a copy of the complete score, the text, and a translation. The recording technician was Mark Franklin. Halle uses such notation in many of his works on poetic stress; see, for example, Fabb and Halle Not all poems have two levels of stress; in some poems, all stresses are equal in weight.

My analysis in Krebs , , shows only one level of stresses. I now feel that a deeper level of stresses should be indicated. There are many precedents for the use of musical notation to show poetic rhythm. See, for example, Oehrle , 87— esp.

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Thereby, he presents the listener with a foil against which the deviations can be appreciated. In Example 4 and in subsequent examples, deviations from the BRD are indicated with red color. If the actual duration of a final sustained vocal note were indicated, the foot durations would appear irregular where no actual irregularity exists.

The sustention takes up part of the duration of the expected rest. For example, the hypermeasure beginning at measure 7 would be four bars long if the leisurely declamation of the opening were maintained see the last four bars of the hypothetical BRD-conformant vocal lines in Examples 3a and 3b. The unstable hypermeter contributes a great deal to the restless mood of the setting. I discuss the complex hypermetric structure of the song in Krebs b , — Schumann allows the suppressed emotions to come to the surface in the postlude, which is dominated by features that appeared only fleetingly during the vocal portion forte dynamics and metrical dissonance.

The songs are in the same key, and are both gloomy in mood. In the third and final strophe of both songs, the two instruments collaborate more fully than in earlier strophes.

Robert Schumann - Liederkreis, op. 39 [With score]

In terms of the issues mentioned here, however, the two songs are quite different; the later song is much more complex in terms of declamation and hypermeter. I show omissions of expected rests with slashes through numbers in square brackets. Here, the values in eight-note units would be 2.

Such minor deviations from consistency of foot duration are common, and should not be regarded as significant irregularities. See note The long pauses and interludes could perhaps be justified by the presence of punctuation marks at the end of each line. The punctuation, however, does not render the pauses necessary.

As Audio Example 12 demonstrates, the poem sounds perfectly natural without long pauses after lines. The short pauses that I made at line ends are not a direct response to the punctuation marks; they result from the need to catch a breath. Schumann mobilizes devices other than the declamation to highlight this turning point in the poem. The first two hypermeasures in the vocal portion of the song consist of two bars of vocal line followed by two bars of piano interlude.

Since the setting of the third line is followed immediately by the setting of the fourth, the third hypermeasure measures 13—16 is, in contrast to earlier hypermeasures, fully vocal.

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I show such surprising pauses within lines by adding an exclamation point to the usual rest notation. Ulrich Mahlert makes this point in Mahlert , — Editor First edition [November ]. Winterthur: J. Rieter-Biedermann , n. Plate Editor Eusebius Mandyczewski Plate J. I provide the original scanned version and the filtered, because the filter does some changes smoothening, sharpening borders and some portions of the scan get lost sometimes when they are too small e. You may ask me for a manually cleaned version. Editor Hans-Peter Beer. Editor mirabilos.

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Brahms, Johannes. Andante G major. Barbra Streisand destroying the town. Robert Smith as Moth-ra. Categories :. Officer Barbrady And Eric Cartman.

Jerome "Chef" McElroy. Marvin Marsh shows Stan Marsh what it's like to be old.

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List of compositions by Franz Schubert

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While Shelly Marsh was baby-sitting Cartman. Shelly Marsh and The Lords of the Underworld. Hankey's Christmas Classics ". Jesus Christ and Santa Claus. Hankey's Christmas Classics album ".

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Stan Marsh and Wendy Testaburger. Hankey's Christmas Classics album. Kenny McCormick and Mr. It's Me, Jesus ". The Musical ". Eric Cartman sings this the U. Butter's explains his Bennigan's story to a truck driver. Biggest Douche in the Universe Committee. Parody of TV theme Fat Abbott. Pro War Country Song ".

Outside Wendy Testaburger 's house. The Raisins Girls. Randy Marsh teaches Stan how to dance to this song.

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