Index

Songs in Motion: Rhythm and Meter in the

German Lied
Yonatan Malin

Print publication date: 2010

Print ISBN-13: 9780195340051
Published to Oxford Scholarship Online: September 2010
DOI: 10.1093/acprof:oso/9780195340051.001.0001

(p.223) Index
accents, musical, 10–11, 41
agogic, 21, 41, 60, 136, 190
dynamic, 41, 104, 190
metrical, 10, 11, 189–90, 191
registral, 10, 21, 41, 60, 83, 102, 104, 190
Adorno, Theodor W., 91, 97, 108, 208
Agawu, Kofi, 208
alienation, 10, 12, 133
alliteration, 83, 201
asclepiadic odes, 146, 158, 159–69
assonance, 83, 201
Asti, Eugene, 45
Auger, Arleen, 200 n42
Bach, Johann Sebastian, 33
Bahr, Hermann, 177
Barthes, Roland, 123
beat. See tactus
Beethoven, Ludwig van, 122
An die ferne Gelibte, Op. 98, 48–49
Symphony No. 3, Op. 55 (Eroica), 52
Berlioz, Hector, 82
Biedermeier period, 114
Brahms, Johannes, 145–76
“Alte Liebe,” Op. 72 No. 1, 209–10
“An den Mond,” Op. 71 No. 2, 22–23
and compositional process, 151, 169–70
“Dämmrung senkte sich von oben,” Op. 59 No. 1, 55–56
“Das Lied vom Herrn von Falkenstein,” Op. 43 No. 4, 170
“Das Mädchen spricht,” Op. 107 No. 3, 58–61, 62, 152
“Der Kuß,” Op. 19 No. 1, 146, 158, 159, 164–69, 171
“Die Mainacht,” Op. 43 No. 2, 146, 158–63, 167–68, 170, 171

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Index

and folksong, 150, 158, 165, 171, 176

Four Serious Songs, Op. 121, 147
and Hensel, 93
“Immer leiser wird mein Schlummer,” Op. 105 No. 2, 52
“In der Fremde,” Op. 3 No. 5, 7–8, 141, 146, 147–51, 152, 154
letters to Clara Schumann, 153, 165, 178, 208, 211
letter to Max Klinger, 210
“Liebestreu,” Op. 3 No. 1, 12–13, 146, 154–58
in a late period, 145, 152–53
Lieder und Gesänge, Op. 57, 171
Magelone Lieder, Op. 33, 153, 171
and musical performance of poetic reading, 146, 147, 150–52, 154
and poetic reading, 151, 152, 178, 208
and rhythmic articulation of poetic forms, 149, 150–52, 154
and Schubert, 152, 163–64
and Schumann, 141, 145, 147–50, 152, 154
song collections of, 145–46
“Von ewiger Liebe,” Op. 43 No. 1, 15, 151–52
walking, 169–71, 178
“Wenn du nur zuweilen lächelst,” Op. 57 No. 2, 146–47, 171–76
and Wolf, 13, 70, 142, 153–54, 176, 178 See also declamation, song forms,
syncopation, and tempo
Brinkmann, Reinhold, 124
Brower, Candace, 46–47
Burkholder, Peter, 145
cadences. See phrase rhythm
caesura, 5, 9, 12–13, 116, 126, 127, 139, 142, 147, 155, 159, 164, 166, 181, 191
chiastic structures, 79, 159, 160
chromatic third relations, 181–82, 186
chromatic voice leading, 157, 200–01
Ciardi, John, 207, 208
climax. See highpoints
(p.224) Cohn, Richard, 51–52, 62–64
Cone, Edward T., 31–32, 208
cross‐domain mapping, 38, 62, 66
Daumer, Georg Friedrich, 171
“Wenn du nur zuweilen lächelst,” 146,171–72
Daverio, John, 137
declamation, 13–15, 95, 207
in Brahms, 15, 70, 153–54
in Wolf, 153–54, 176, 178, 179–80, 182–83, 190–91, 202–03
declamatory rhythm, 92, 105, 118
augmentation of, 47–48, 75, 76–77, 134–35, 157, 176, 203, 210
irregular, 104, 110–13, 128–29, 138, 143, 171, 180
regular, 128, 130, 134
and settings of unaccented line endings, 8, 17, 19–20, 102, 103, 130
declamatory lyricism, 187
declamatory schemas, 15–27, 44
cadential, 25, 84, 129
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Index

changing, 19–20, 21–23, 83, 102–03, 107, 128–29, 143, 180, 187–88, 189–90, 204
in compound meters, 17–18, 19
in couplet pairings, 20–21, 24–25, 51
in hypermeasures, 18, 19, 143
pentameter, 25–27, 188–94
tetrameter, 20–25, 48–51, 83, 85, 102, 103, 107, 128–29, 140, 172
for tetrameter‐trimeter couplets, 19, 25, 134, 156
three‐bar, 20, 21–24
trimeter, 17–20, 24–25, 50, 58, 73, 76, 92, 99, 106, 109, 110, 126, 130, 160–62, 163,
210
in triple meters, 24–25
upbeat oriented, 20, 21–22, 23–24, 50, 83, 85, 92, 163, 175
used for the analysis of piano rhythms, 92, 200
declamatory style, 105 n20, 128, 142, 146–47, 183
dissonance, metric. See metric dissonance
Eichendorff, Joseph Freiherr von, 17, 72, 81–82, 91, 125–26, 178
“Der Schalk,” 82–83
“Die Stille,” 139–40
“In der Fremde,” 7–8, 11–12, 133–34, 147–48
“Morgenständchen,” 84–85, 87
“Nachtwanderer,” 90–91
poetic forms of, 125
and radical use of language, 84, 125
and romanticism, 125
“Waldesgespräch,” 138
elision. See phrase rhythm
enjambment, 12, 126, 133–34, 139, 147, 164, 172, 204
musical settings of, 135, 139, 140, 141, 148, 149–51, 165, 203
entrainment. See meter, musical
Epstein, David, 154
Fehn, Ann Clark, 15, 25–26, 192
Finson, Jon, 141, 142
folksong
“Da droben auf jenem Berge,” 108–09 See also Brahms
form. See song forms
Frost, Robert, 207
Gage, Irwin, 200 n42
Geibel, Emanuel, 178
“Gondellied,” 10, 72, 87–88
Goethe, Johann Wolfgang von, 17, 70, 72, 81, 91, 178
and authentic utterance, 113
“An Lina,” 4, 126, 152
“Ganymed,” 5, 180–81, 196
“Gretchen am Spinnrade,” 8–9, 114–17, 122
“Schäfers Klagelied,” 108–10
Schubert's settings of, 95–96, 98
Schubert's settings of, discussed by Brahms, 152
and song aesthetics, 31, 113
“Wanderlied,” 76
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Index

“Wandrers Nachtlied I,” 105

“Wandrers Nachtlied II,” 172
Gritton, Susan, 45
Groth, Klaus, 208
Gruppe, Otto Friedrich
“Das Mädchen spricht,” 58–60
Hallmark, Rufus, 15, 25–26, 128, 129, 192
Hanslick, Eduard, 153
harmonic rhythm, 41, 85, 118, 143, 162, 181–82, 186
Hauptmann, Moritz, 66
Haydn, Joseph, 30
Heine, Heinrich, 17, 42, 125–26
“Hör’ ich das Liedchen klingen,” 10, 130
“Ich grolle nicht,” 9
“Im wunderschönen Monat Mai,” 196
and irony, 125
Lyrisches Intermezzo, 127
(p.225)
Müller as model for, 98, 125
poetic rhythms and forms of, 125, 130
“Schwanenlied,” 42, 73
“Warum sind denn die Rosen so blass,” 5–6, 78–79
“Wenn ich in deine Augen seh’, ” 127–28, 130
hemiola, 26, 52, 53–56, 58–61, 62–64, 83, 102–04, 199
in Brahms, 146, 158, 159, 162, 167–68, 173–75, 210
reverse, 22–23, 55, 57–58, 63, 160
Henschel, George, 169–70
Hensel, Fanny, 69–93
and Brahms, 70, 93
“Die Mainacht,” Op. 9 No. 6, 164 n49
“Die Schwalbe,” 50–51, 71
and gender related career constraints, 70–72
and history of the Lied, 69, 93, 96
“Gondellied,” Op. 1 No. 6, 10, 14, 66, 87–89
“Maienlied,” Op. 1 No. 4, 81–84
“Morgenständchen,” Op. 1 No. 5, 21–22, 23, 84–87
musical training of, 70
“Nachtwanderer,” Op. 7 No. 1, 65, 89–93
Opp. 1 and 7 songs, 17, 19, 25, 72
and Schubert, 96
and Schumann, 81, 82, 90, 125
“Schwanenlied,” Op. 1 No. 1, 14, 37–46, 47, 73–75
song publications of, 71–72, 89–90, 91
and Sunday musicales, 70–71
travel to Italy, 82
use of 6/8 meters, 69, 72, 87
“Wanderlied,” Op. 1 No. 2, 24, 48, 75–77
“Warum sind denn die Rosen so blass,” Op. 1 No. 3, 14, 16, 48, 77–81
Hensel, Wilhelm, 70–71, 82
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Index

Heyse, Paul, 178

“Auch kleine Dinge,” 188
“Der Mond hat eine schwere Klag’ erhoben,” 189–91
highpoints, 75, 136–37, 156–57, 173, 186, 190, 198, 204
Hoeckner, Berthold, 32
Hölty, Ludwig Heinrich Christoph, 158–59
“Der Kuß,” 146, 158, 164–65
“Die Mainacht,” 146, 158, 159–60
hypermeter, 18, 41–48, 60–61, 114, 118, 121, 138, 143–44
numeric annotation for, 43–44
perception of, 44–47
and phrase rhythm, 44, 47–48
reinterpretation of, 48, 77, 78, 79–80, 84, 100, 119–20, 144, 151–52, 187 See also
declamatory schemas
idyllic temporality, 104
interiority, 18, 86–87 (see also Schumann, Robert)
irony, 107 (see also Schumann, Robert and Heine, Heinrich)
James, William, 46
Jenner, Gustav, 146, 151, 164, 169, 170
Joachim, Josef, 155
Kalbeck, Max, 170
Klinger, Max, 209–10
Brahms Fantasy, 209–11
Klopstock, Friedrich Gottlieb, 158
Krebs, Harald, 49, 51–53, 62, 65, 184
lament, 73, 106–07, 109–13, 131
Lenau, Nikolaus, 17
“Einsamkeit,” 142–43
Lewin, David, 31
Lied
canonization, 145, 152, 178
dramatic, 154–55
history and aesthetics, 4, 29–31, 32–33, 69–70, 93, 95–96, 125, 141–42, 144, 176,
178–79
private performance of, 90
public performance of, 90, 142, 145, 153, 178
linear motion, 119, 121, 136–37, 156, 198, 204
longing. See rhythmic representations
Louis, Rudolf, 179
Mahlert, Ulrich, 141, 142
melodic contour. See highpoints
memory
as evident in musical structure, 143–44
of poetic personae, 99, 101, 132, 209
psychological studies of, 46
Mendelssohn, Abraham, 70, 87
Mendelssohn, Cécile, 89–90
Mendelssohn, Fanny. See Hensel, Fanny
Mendelssohn, Felix, 70–71, 90
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Index

Mendelssohn, Rebecka, 89–90

meter, musical, 35–66
compared with poetic meter, 4, 9, 38
dot diagrams for, 37–38, 42, 46, 65
(p.226)
and drama, 169
entrainment to, 39, 44–47, 65
and expressive variation, 35–36
graphs of, 62–64, 167, 168, 173–75
as hierarchy, 38, 39
and irregularity, 92
layers of, 37–46, 63 (see also metric dissonance)
modulation of, 56, 60–61
perception of, 39–43, 44–47, 57, 185, 198
and perceptual isochrony, 38
and psychological states, 174–75, 176
reductions of, 46–47, 80–81
in relation to rhythm, 36, 64–66
and shadow meter, 48–51, 52, 77
theory and pedagogy of, 35 n1, 36–37
waves of, 65–66, 134, 136, 137, 193
in Western notation, 35–37, 61 See also accent, hypermeter, metric dissonance,
and tactus
meter, poetic. See poetic meter
metric dissonance, 51–64, 156
direct, 56
displacement, 52–54, 57–61, 130–32, 156, 184, 193
as a form of dissonance, 51–52, 131
grouping, 52, 53–56
indirect, 56
as a metric phenomenon, 51–52
subliminal, 56, 61 See also hemiola and syncopation
motives, 19, 153, 154, 156, 157, 173, 175–76, 199, 200, 202, 210
Mörike, 178
“Im Frühling,” 195–97
and introspection, 196
“Um Mitternacht,” 7, 12
movement, human. See rhythmic representations
movement in nature. See rhythmic representations
Mozart, Wolfgang Amadeus, 30
Müller, Wilhelm, 17, 98
and analytical introspection, 100
“Auf dem Flusse,” 99
“Der Lindenbaum,” 10–11, 28–29
“Die Nebensonnen,” 106–07
“Gute Nacht,” 10
and rhythmic simplicity, 98
“Rückblick,” 100–01
“Wasserflut,” 6, 8
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Index

music‐text blends, 74, 104, 111, 182, 203

Nägeli, Hans Georg, and “polyrhythm” in the Lied, 29–33, 38–39, 75, 99, 114, 131, 141,
180, 209
narrative frame, 111
New German School, 176
Newman, Ernest, 178–79
normalization of poetic irregularities. See phrase rhythm
offset doublings. See piano and voice
parallelisms, musical, 39, 43, 129, 144, 154, 162, 174, 185, 195, 201–02
parallelisms, text, 28–29, 119
parodies, 4, 108–09
pastoral, 110–13
performance, 35–36, 37, 45, 47, 61, 70–71, 90, 142, 145, 150, 152–53, 154, 159, 170,
175, 177–78, 200 n42, 207–08, 211
perception. See meter, musical
persona, 31–32, 78, 85, 169, 170 (see also piano; poetic rhythm; and rhythm, musical)
phrase rhythm, 70
acceleration of, 118–20
and cadences, 47–48
elision, 47–48, 70, 78, 79–80, 93, 100, 144, 152, 187
expansion of, 74, 75, 77, 93
extension of, 135
five‐bar, 165–67
four‐bar (quadratic), 126, 142, 169, 188, 194–95, 198–99, 203, 205
and hypermeter, 44, 47–48
irregular, 90, 91–92, 133, 142–44, 146
and normalization of poetic irregularity, 88–89, 134–35, 139, 163–64, 187–88
regular, 126, 137, 137
in relation to poetic form, 3, 11, 29, 51, 74, 75, 77, 85, 92–93, 99, 103, 109, 121–22,
130, 134–36
piano
as heard by the vocal persona, 92, 130, 131, 140
introductions, 79, 101–02, 136, 148
and the lyric persona's consciousness, 98–100, 119, 203, 205
postludes, 131, 136, 176, 210
symphonically conceived, 178
textures, 3, 37–38, 66, 80, 85, 131
piano and voice
doublings, 107, 165
interdependence, 90, 124
offset doublings, 124, 126, 130–31, 133, 134–35, 137, 162, 205
(p.227)
reverberation in Schumann, 123–24, 126, 130, 132, 137
rhythmic independence of, 99
rhythmic interactions of, 85, 102–03, 128, 143, 179–80, 186, 188, 189, 192–93, 195,
201, 204
poetic form
dissolution of, 197, 199–200, 205

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Index

quatrains, 3, 28–29 See also asclepiadic odes; Eichendorff, Joseph Freiherr von;
and Heine, Heinrich
poetic meter, 3–9
alternating patterns of tetrameter and trimeter lines, 5–6, 79, 133, 147, 155
ambiguity of, with monosyllabic words, 10
amphibrachs, 7, 14
anapestic, 6, 7, 14
choriambs, 159
dactylic, 7, 14–15, 159, 160
dimeter lines, 8–9, 116, 196
disyllabic feet, 7–8, 109
compared with musical meter, 4, 9, 38
hexameter lines, 9, 159, 160
iambic, 6, 7, 14, 16, 28, 42, 59, 73, 90, 100, 127, 130, 159, 188, 190, 201
line endings, 8, 28, 42, 73, 90, 100, 108, 125, 127, 130, 171
pentameter lines, 7, 9, 15, 188–94, 196.
and phrase rhythm, 3
and qualities of motion, 6–7, 42
tetrameter lines, 7, 16, 56, 84, 90, 100, 105, 125, 127, 139, 142, 151, 159, 171, 196.
trimeter lines, 16, 28, 42, 73, 90, 108, 125, 130, 159, 196, 201
trisyllabic feet, 7–8, 14–15, 109
trochaic, 6, 14, 18, 56, 59, 84, 105, 142, 159, 160, 171 See also declamatory
schemas
poetic reading, 4 (see also Brahms, Johannes and Wolf, Hugo)
poetic rhythm, 9–13
and couplets, 3, 5–6, 8, 116, 127, 133 (see also declamatory schemas)
and degrees of accentuation, 10–11, 21, 48, 83, 103, 129
expressive aspects of, 12–13, 59–60, 79, 90
free, 5, 181, 196
irregular, 137, 138
and the poetic persona's voice, 12–13, 59–60, 81, 102, 114, 116–17, 154–56, 172,
197
trochaic substitution, 9–10, 42, 43, 102, 130, 191 See also caesura, enjambment,
poetic form
polyphony, analogy with polyrhythm, 32–33
polyrhythm. See Nägeli, Hans Georg
punctuation, musical analogue for, 87
psychological present, 46
psychological states. See rhythmic representations
recitative, 65, 104, 105, 106, 107, 108, 203
Reinick, Robert
“Liebestreu,” 12–13, 155–56
repetition, musical, 28–29, 74–75, 156 (see also Schubert, Franz)
repetition of poetic text, 9, 25, 47–48, 75, 76–77, 84, 87, 118, 135, 149, 166
rhyme, 3, 5, 82, 90, 105, 134, 139–40, 166, 171, 172, 190, 197, 204
in aabb quatrains, 3, 127
in abab quatrains, 5–6, 12, 28, 73, 79, 82, 84, 100, 125, 133, 147
in abba quatrains, 142
in abcb quatrains, 108–09, 125
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Index

rhythmic irregularity
in Schubert, 97, 100, 105 n20, 118
in Schumann, 124–25, 137–40
performative effects of, 137–40 See also declamatory rhythm and phrase rhythm
rhythmic representations
of desire, 117, 121, 171, 172, 176, 186
of human movement, 83, 95, 100, 101–04, 110–11, 117, 119
of longing, 52, 133
of movement in nature, 52, 57, 61, 66, 74, 85, 87, 95, 98, 103
of psychological states, 52, 118
of stasis, 98–99, 104, 107, 118
rhythm, musical, 4, 35–36
and analog equivalence, 15
analogies with pitch, 61
augmentation, 158
as dramatic element, 154–55, 157
as a feature of the lyric persona's voice, 81, 92, 98, 121, 157, 186
and poetic feet, 14–15
in relation to meter, 36, 64–66
in Western notation, 35–37 See also accents, musical; declamatory rhythm;
harmonic rhythm; rhythmic irregularity; rhythmic representations; and
syncopation
rhythm, poetic. See poetic rhythm
Riemann, Hugo, 154
(p.228) Robert, Friederike
“Die Schwalbe,” 50
Rohr, Deborah, 146
Rothstein, William, 48–51
Rückert, Friedrich, 17
Schenker, Heinrich, 33, 205 n43, 208
Schoenberg, Arnold, 146, 152, 176
Schubert, Franz, 95–122
“An den Schlaf,” D. 447, 26
“Auf dem Flusse,” D. 911 No. 7, 31, 97, 98–100
and Brahms, 152, 163–64
canonization of, 178
“Das Wirtshaus,” D. 911 No. 21, 17–18
“Der Leiermann,” D. 911 No. 24, 18, 19
“Der Lindenbaum,” D. 911 No. 5, 10–11, 17, 29, 57–59, 60, 63–64, 65
“Die Erwartung,” D. 159, 104
“Die Mainacht,” D. 194, 163–64
“Die Nebensonnen,” D. 911 No. 23, 21, 51, 97, 104–05, 106–08
“Die Post,” D. 911 No. 13, 21–22, 31
Die schöne Müllerin, D. 795, 153
“Erlkönig” D. 328, 95–96
“Erstarrung,” D. 911 No. 4, 19–20
“Ganymed,” D. 544, 180, 187–88
“Gretchen am Spinnrade,” D. 118, 8–9, 30–31, 95–96, 97–98, 113–14, 117–22, 155
“Gute Nacht,” D. 911 No. 1, 10, 17
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Index

and Hensel, 96
and history of the Lied, 95–96
“Im Dorfe,” D. 911 No. 17, 24–25
“Irrlicht,” D. 911 No. 9, 21
“Kennst du das Land,” Op. 79 No. 28, 142
“Letzte Hoffnung,” D. 911 No. 16, 21
“Mut,” D. 911 No. 22, 107
“Pause,” D. 795 No. 12, 26–27
and realism, 96
and reflective consciousness, 97, 99–100, 104, 105, 110, 122, 123
and repetition, 97, 98–99, 107, 108, 119, 122
representation and expression combined in, 95, 111
“Rückblick,” D. 911 No. 8, 97, 100–04, 107
“Schäfers Klagelied,” D. 121, 97, 105, 110–13
and Schumann, 123
“Suleika I,” D. 720, 95–96, 97
“Täuschung,” D. 911 No. 19, 21–23
“Ungeduld,” D. 795 No. 7, 26–27, 55
“Wandrers Nachtlied I,” D. 224, 65, 97, 104–06
“Wandrers Nachtlied II,” D. 768, 52, 105 n20
“Wasserflut,” D. 911 No. 6, 20–21, 51, 172
pentameter settings of, 25–27, 188, 192
Winterreise, D. 911, 17, 19, 24–25
and Wolf, 96, 187–88, 192 See also rhythmic irregularity
Schumann, Clara
and Hensel, 82
letters from Brahms to, 153, 165, 178, 208, 211
poems for composition collected with Robert, 126
Schumann, Robert, 123–44
“Auf einer Burg,” Op. 39 No. 7, 14
“Aus alten Märchen,” Op. 48 No. 15, 19
“Aus meinen Tränen spriessen,” Op. 48 No. 2, 127
and Brahms, 141, 145, 147–48, 152, 154
canonization of, 178
composition drafts, 128, 129, 133
contact with Hensel, 82
Dichterliebe, Op. 48, 17, 19, 25, 124, 125–26, 127, 153
“Die Rose, Die Lilie,” Op. 48 No. 3, 14, 127
“Die Stille,” Op. 39 No. 4, 126–27, 137–38, 139–40
Eichendorff Liederkreis, Op. 39, 81–82, 124, 125–26
“Ein Jüngling liebt ein Mädchen,” Op. 48 No. 11, 123
“Einsamkeit,” Op. 90 No. 5, 127, 142–44
Fantasy, Op. 17, 49
on free rhythm, 195
and Hensel, 81, 90, 125
“Hör’ ich das Liedchen klingen,” Op. 48 No. 10, 53–54, 126, 129–32, 134
“Ich grolle nicht,” Op. 48 No. 7, 9
“Ich will meine Seele tauchen,” Op. 48 No. 5, 127
“Im Rhein,” Op. 48 No. 6, 14, 127
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Index

“Im wunderschönen Monat Mai,” Op. 48 No. 1, 53–54, 124

“In der Fremde,” Op. 39 No. 1, 7–8, 126, 132–37, 148
and interiority, 123–24, 126, 128, 139
“Intermezzo,” Op. 39 No. 2, 52, 123
and irony, 123
late songs of, 124–25, 127, 141–44
Liederkreis, Op. 24, 125
“Melancholie,” Op. 74 No. 6, 142
and offset doublings, 124, 126, 130–31, 133, 134–35, 137, 162, 205
and poems for composition collected with Clara, 126
(p.229)
and Schubert, 123
Symphony No. 2, Op. 61, 49
view of Lied history, 125
and Wagner, 141
“Waldesgespräch,” Op. 39 No. 3, 126–27, 137–39, 166
“Wenn ich in deine Augen seh,’” Op. 48 No. 4, 126, 127–29, 132, 133
year of song, 124
“Zwielicht,” Op. 39 No. 10, 124 See also piano and voice, and rhythmic irregularity
sequence, 119, 120, 131
song forms, 110
cyclic, 80–81
directional, 80–81
and energetic profiles, 197–201, 202–03
modified strophic in Brahms, 148, 156, 165
and phrase expansions, 75, 77
strophic, 81, 163, 171, 198, 199
ternary, 86, 101, 107, 160, 165, 186
song, poetic depictions of, 48, 85, 91, 129
song rhythms, contrasted with speech rhythms, 104, 127, 128, 138–39, 141
Spaun, Josef von, 31, 208
speech rhythms, 38–39, 100, 104–05, 110–13, 127, 138–39, 141, 177, 179–80
Spillman, Robert, 160–62
stasis. See rhythmic representations
Stein, Deborah J., 160–62
Stein, Jack, 158 n34
Stockhausen, Julius, 153, 159
syncopation, 22–23, 46, 52, 53–54, 74, 79, 80–81, 193, 198
and agency, 180, 185
in Brahms, 146, 149, 150, 154
definition and theory of, 183–84
internally articulated, 184, 187
resolution of, 184–85
and rhythmic narrative, 185, 186–87
in Schumann's piano accompaniments, 53–54, 126, 132, 135
for unaccented line endings, 19–20, 130
in Wolf's vocal lines, 27, 52, 179–80, 182–87, 188, 192, 194, 202, 203–04, 205
syntax
musical, 120, 121–22
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Index

verbal, 11, 13, 89, 114, 116–17, 119, 121–22, 133, 147, 172, 174, 181, 190, 204
tactus, 44–46
tempo, 43, 44–45, 72, 117, 163, 182, 195
and rhythmic transformations in Brahms, 146, 154, 157–58
Thym, Jürgen, 126
voice and piano. See piano and voice
voices, poetic and musical. See persona; piano; poetic rhythm; and rhythm, musical
Volkstümlichkeit, 11, 30–31, 32, 69, 84, 95, 96, 109, 125, 150, 155, 165
Wagner, Richard, 141, 178, 179
Wolf, Hugo, 177–205
“Auch kleine Dinge,” Italian Songbook No. 1, 188, 191, 192–93, 194
and Brahms, 13, 70, 176, 178
“Dass doch gemalt all’ deine Reize wären,” Italian Songbook No. 9, 26–27
“Denk'es, O Seele!,” Mörike songs No. 39, 192 n32
“Der Mond hat eine schwere Klag’ erhoben,” Italian Songbook No. 7, 189–91
and four‐bar piano phrasing, 188, 194–95, 198–99, 203, 205
“Ganymed,” Goethe songs No. 50, 180–88, 201
and history of the Lied, 142, 146, 176, 178
“Im Frühling,” Mörike songs No. 13, 180, 194–95, 197–205
Italian Songbook, 178, 180, 188–94
“Jägerlied,” Mörike songs No. 4, 192 n32
“Mir ward gesagt,” Italian Songbook No. 2, 194
Mörike songs, 179
“Nun lass uns Frieden schliessen,” Italian Songbook No. 8, 191
pentameter settings of, 26–27, 188–94
and poetic reading, 177–78
and Schubert, 96, 187–88, 192
“Selig ihr Blinden,” Italian Songbook No. 5, 192
Spanish Songbook, 178
“Um Mitternacht,” Mörike songs No. 19, 7, 14
and union of poetry and music, 178–79
and Wagner, 178, 179 See also declamation and syncopation
yearning, poetic and musical representations of, 116, 137, 171, 180, 199.
Youens, Susan, 52, 57, 100, 179
Zelter, Carl Friedrich, 31, 70, 87, 96
Zuckerkandl, Victor, 65–66
Zumsteeg, Johann Rudolf, 104

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