Abstract
This article represents the first one in a series of two that investigate the evolution of vocal piano accompaniment through history and the role of the piano in its relationship with the voice. The research method used is musical analysis focused on the piano part, both in itself and its link with the text and the vocal part. The research method used is musical analysis centred on the piano part, both in itself and its link with the text and the vocal part. Initially, some preliminary questions necessary to establish a starting point around the piano accompaniment are addressed. Then, by means of musical examples of different composers following a chronological order, the article investigates all those aspects that provide evidence of the change in the role of the piano in the correspondence between the piano and the voice. In this way we will observe the trajectory of piano accompaniment to the voice and we will see how Schubert conceived the piano in vocal works with piano accompaniment. This new conception will influence both contemporary and later composers. The treatment of this influence will be dealt with in the second article. In the present article we will establish the basis of the functioning of piano accompaniment in compositions prior to Schubert, starting from the Ancient Italian aria (the beginnings of piano accompaniment) to his first lieder. We will observe the different dialogue between voice and piano that starts from the dependence of the piano in the beginnings towards its participation in the final result of the work with a decisive role. Schubert will articulate this drift, as will be seen. However, the results and conclusions, taking into account the whole evolutionary perspective of piano accompaniment, will be presented in the second article.
Highlights
With the help of a theoretical framework and the exemplification of scores we can see how it has evolved the voice’s piano accompaniment
Once the phrase has finished in minor mode, as we have commented, the melody returns to its initial register, but with the absence of the bass that does not appear until measure 39, a moment in which the voice explores its high and expressive register and the piano takes up the triplets again
We can point out some considerations, especially those concerning the transformation of the piano accompaniment to the voice
Summary
With the help of a theoretical framework and the exemplification of scores we can see how it has evolved the voice’s piano accompaniment. Throughout two articles we will see how the conception of the piano in its participation in voice-piano duo suffered, with Franz Schubert, a turning point that marked his future. To do this we would like to start this article explaining what the practice’s accompaniment is because it will help to understand its historical evolution in relation to the song. The results and conclusions will be presented in the following article
Sign-in/Register to view highlights & summary Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
