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An art song is a Western vocal music composition, usually written for one voice with piano accompaniment, and usually in the classical art music tradition. By extension, the term "art song" is used to refer to the collective genre of such songs (e.g., the "art song repertoire").[1] An art song is most often a musical setting of an independent poem or text,[1] "intended for the concert repertory"[2] "as part of a recital or other relatively formal social occasion".[3] While many vocal music pieces are easily recognized as art songs, others are more difficult to categorize. For example, a wordless vocalise written by a classical composer is sometimes considered an art song[1] and sometimes not.[4]

Art songs have been composed in many languages, and are known by several names. The German tradition of art song composition is perhaps the most prominent one; it is known as Lieder. In France, the term mlodie distinguishes art songs from other French vocal pieces referred to as chansons. The Spanish cancin and the Italian canzone refer to songs generally and not specifically to art songs.

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The composer's musical language and interpretation of the text often dictate the formal design of an art song. If all of the poem's verses are sung to the same music, the song is strophic. Arrangements of folk songs are often strophic,[1] and "there are exceptional cases in which the musical repetition provides dramatic irony for the changing text, or where an almost hypnotic monotony is desired."[1] Several of the songs in Schubert's Die schne Mllerin are good examples of this. If the vocal melody remains the same but the accompaniment changes under it for each verse, the piece is called a "modified strophic" song. In contrast, songs in which "each section of the text receives fresh music"[1] are called through-composed. Most through-composed works have some repetition of musical material in them. Many art songs use some version of the ABA form (also known as "song form" or "ternary form"), with a beginning musical section, a contrasting middle section, and a return to the first section's music. In some cases, in the return to the first section's music, the composer may make minor changes.

Performance of art songs in recital requires special skills for both the singer and pianist. The degree of intimacy "seldom equaled in other kinds of music"[1] requires that the two performers "communicate to the audience the most subtle and evanescent emotions as expressed in the poem and music".[1] The two performers must agree on all aspects of the performance to create a unified partnership, making art song performance one of the "most sensitive type(s) of collaboration".[1] As well, the pianist must be able to closely match the mood and character expressed by the singer. Even though classical vocalists generally embark on successful performing careers as soloists by seeking out opera engagements, a number of today's most prominent singers have built their careers primarily by singing art songs, including Dietrich Fischer-Dieskau, Thomas Quasthoff, Ian Bostridge, Matthias Goerne, Wolfgang Holzmair, Susan Graham and Elly Ameling. Pianists, too, have specialized in playing art songs with great singers. Gerald Moore, Geoffrey Parsons, Graham Johnson, Dalton Baldwin, Hartmut Hll and Martin Katz are six such pianists who have specialized in accompanying art song performances. The piano parts in art songs can be so complex that the piano part is not really a subordinate accompaniment part; the pianist in challenging art songs is more of an equal partner with the solo singer. As such, some pianists who specialize in performing art song recitals with singers refer to themselves as "collaborative pianists", rather than as accompanists.

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Does anyone know who I have to talk to for removing a song from my bands discography on Apple Music? My band is Devourer and there is a single from another band who also calls themselves Devourer but is obviously not the same band.

Concert season is in full swing, and music artists seem to be dropping a new single every week. If you want to write about the audial gems you listen to in your day-to-day, you have come to the right place.

Include a URL in your reference if that location is the only means of retrieval of the song or track (e.g., for artists who provide music in only one location, such as SoundCloud or on their website).

Four years before Janet Jackson converted "nasty" from a pejorative into a positive, Vanity 6 got the wheels greased with "Nasty Girl." The 1982 single was the first (and only) hit by the Prince-assembled girl group. He also wrote and produced the track, whose sleazy pleasures were tailor-made for the dance floor (as well as the stripper pole). "At first, Prince wanted to call me Vagina," said Vanity, who was born Denise Matthews, in an interview with Bam in 1985. "Even though he pronounced it Va-jeana, that would have been too weird. His next choice was Vanity. I liked that." The song reached the top spot in Billboard's Hot Dance Club Play chart, only to be knocked off, ironically enough, by Prince's "1999."

Prince allegedly penned "I Feel for You" as a valentine to one of his crushes, jazz-funk queen Patrice Rushen, and included it on his 1979 self-titled album. Years later, Chaka Khan and longtime producer Arif Mardin turned "I Feel for You" into a Gold-certified cataclysm of electro-funk, R&B and hip-hop. There is the seductive voice of Melle Mel of "The Message" and Beat Street fame serenading Chaka, a harmonica riff from Stevie Wonder and those loud, blaring synthesizer stabs typical of pop music of the era. Just as big was its heavy-rotation video clip that featured L.A. break dancers like Shabba Doo and Boogaloo Shrimp, fresh from their triumphant performances in the unexpected box office hit Breakin'. But Khan, who had spent much of the early-Eighties delving into sensuously mature boogie-funk and jazz-pop, wasn't entirely comfortable with the colorfully gauche "I Feel For You. " "Arif and I had to make a conscious effort to do that," she told Billboard in 1984. "'I Feel For You is obviously a song that appeals to a lot of the younger kids.'" Khan probably didn't mind when "I Feel for You" became the biggest hit of her solo career, topping the R&B charts and earning her a 1985 Grammy for Best R&B Song. As for Prince, he was too busy with Purple Rain to appear on the track. "Prince [had] schedule problems, couldn't do it," Mardin said.

"I walked into the studio and there was no 12 bodyguards, just him," Sheena Easton told Q in 1991, recalling her first meeting with Prince in the Eighties. "He was very quiet and shy." As quiet and shy as Prince may have been, there's nothing modest about his first collaboration with Easton, "Sugar Walls." Listed by Tipper Gore's Parents' Music Resource Council as one of the "Filthy Fifteen" songs that were sure to pervert the minds of young America, the Prince-penned "Sugar Walls" contains one of the most viscerally erotic double entendres in pop history: "Come spend the night inside my sugar walls," Easton croons over dreamy alien funk.

After seeing an early Bangles show in Los Angeles, Prince sent the band a tape with two original songs he wanted them to record. One was "Manic Monday," a jangly, infectious diary of 9-to-5 office blues, that Prince was able to accurately capture without experiencing. The track is relatively innocent, but Prince does get in a classic line: "Of all of my nights/Why did my lover have to pick last night to get down?" It was the band's first hit, reaching Number Two in the U.S. "I remember going in and singing that song and being on the mike and it was kind of like red light fever," Bangles singer Susanna Hoffs told Songfacts. "I knew it was a Prince song, and I wanted to do a great job on it." Her mind was eased when Prince listened to the track. "He was really thrilled with how it came out. I think he might have said something like, 'Oh, I was surprised you guys didn't use my track,' or something. But he was very happy with it."

In 1990, five years after "Nothing Compares 2 U" was released by Prince side project the Family without causing too much of a ripple, Sinead O'Connor became a star with her evocative, emotionally pummeling cover. The Irish singer shifted the lyrics from being a break-up ballad to an exploration of loss, dedicating the song to her mother who died the same year the song had been originally released. The year O'Connor's version blew up, her and the track's original songwriter appeared on Rolling Stone's cover four months apart. "I love it, it's great!" Prince said of the new star's take. "I look for cosmic meaning in everything. I think we just took that song as far as we could, then someone else was supposed to come along and pick it up."

Graffiti Bridge may have been a flop at the box office, but the accompanying album boasted the buoyant debut single from the charismatic Texas teenager who had previously worked with Quincy Jones. From the ecstatic opening cry to the airy chorus boasting Campbell's young MJ-style vocals to the loose-limbed groove, "Round and Round" sparkled with youthful charm. It also featured classic Prince-ly lyrics like "Is the truth really there or is it right under our hair?" The payoff comes in the spoken word bridge during which Campbell predicts making it in the big city before signing off "'Cuz I plan to be a cool kitty." The song, which also appeared on Campbell's debut album T.E.V.I.N., garnered a Grammy nomination for Best Male R&B Vocal Performance. 17dc91bb1f