Setting Music to a Text

When making music, the composer must consider how to do it, considering the emotions and feelings that he wants to make. In the case of Friedrich · Lucactor's poem "I am quite lost in the world", there are all kinds of ways that can be set for music. It can be changed by certain factors. - All of them are compared with the settings of Gustav Mahler. If you set the text to music, you can use constant elements such as whole and form.

Hans Error (1 - 9 - (19 - 3 - 196 - 2)) text set by Hans Errors (Kurt Tucholsky 1 - 9) ": After the Weimar Republic in 19-29 years in the German Democratic Republic Late nineteenth century. Sharp irony, anti-fascist "WEGgestreut" such as Rosen orove's retreat "Our way is simply overwhelming) and antiwarf" DerGraben "(trench) is like the pioneers of their Weimar era Cabaret It is a classic one of repertoire. The main driving force behind it is brought about by actor, singer, Ernst Busch (19 - 10 - 19 - 19), Essler 's definition of Kampfmusik from late nineteenth to early nineteenth century

In the case of text messages of political music, a new approach has appeared in the last 30 years. It disregarded the previous practice of "setting text as music" rather than speaking or talking. A political composer, Luigi Nono, closely related to the text, can be thought of separately as an exception to all the rules. In the case of non - text messaging to political music, from the extension of the direct quoting method from the extension of the direct citation law in the cultural conditions of music to the more primitive way of the music structure as a political metaphor. Independently of all of these, Cornelius Kadyu not only points his sharpness to the extreme of defining the role of political music in the extreme situation of composers, but is also trying to be the most clarity and most passionate You should think about people. What is writer's new music wrongly politically wrong?

For many people, music can only become political if it has text. But the latter group seems to be a minority and most political composers should not understand music only by music enthusiasts but also in the working class of interest expressed I believe. It is thought that there is neither a value nor a point. Therefore, political music is often familiar with its basic idioms, it tends to be widely accessible, not abstract, and simple, not complex. There are exceptions; Nono wrote political music instead of idioms in cartoon books, and Wallingford Riegger is a curious 12 tone Communist