Information AboutSprechgesang |
| CATEGORIES ABOUT SPRECHGESANG | |
| singing | |
| extended techniques | |
| opera terminology | |
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In the foreword to '' Pierrot Lunaire '' (1912), Arnold Schoenberg explains how a good ''Sprechgesang'' should be achieved, saying that the indicated rhythms should be adhered to, but that whereas in ordinary singing a constant pitch is maintained through a note, in ''Sprechgesang'' the indicated pitch should be given, but then immediately left, either by rising or falling. The result should be unlike both normal singing and normal speech. The earliest known use of the technique is in '' (1911) is in Sprechgesang, almost all of '' Pierrot Lunaire '' (1912) uses the technique, and it is also employed in his opera '' Moses Und Aron '' (1932). Alban Berg uses a variation on the technique, asking for parts of his operas '' Wozzeck '' and '' Lulu '' to be between ''Sprechgesang'' and normal singing. Kurt Weill adopted ''Sprechstimme'' to accommodate Lotte Lenya 's distinctive, though non-lyric, voice for her part as Jenny in '' Die Dreigroschenoper ''. Macheath's part also employs the technique. In Schoenberg's Musical Notation , ''Sprechgesang'' is usually indicated by small crosses through the stems of the notes, or with the note head itself being a small cross. The beginning of the vocal part in ''Pierrot Lunaire'' looks like this: Berg's part-''Sprechgesang'', part-singing is notated with a single stroke through the stems of the notes. A possibility followed by other composers is to use "x"'s in place of conventional noteheads. In Germany today, since the early 1990s, the term ''Sprechgesang'' has been given a new, more popular meaning of "German-language Rap Music ." SEE ALSO EXTERNAL LINK |
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