Abstract
This is the first of two introductory chapters; it covers aspects of poetic meter and rhythm, introduces declamatory‐schema analysis, and compares Nägeli's notion of “polyrhythm” in the Lied (in an article from 1817) with recent approaches to song analysis (Cone and Hoeckner). Declamatory schemas specify the placement of poetic feet and lines in a given musical meter. A survey of declamatory schemas in Hensel's Opp. 1 and 7 collections, Schubert's Winterreise, and Schumann's Dichterliebe is provided. It has been assumed that there is a simple default for setting tetrameter lines; this chapter shows that tetrameter schemas vary both within and among songs. Declamatory‐schema analysis also extends pioneering work by Fehn and Hallmark on pentameter line settings. The focus here is on rhythm and meter in the poetry and vocal lines; chapter 2 adds piano accompaniments.
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