With this thoroughly urbanized and neurotic song we have strayed pretty far from the state of nature, as did the lied itself in the generations after Schubert. The solo song became increasingly a site for subjective lyric expression, the more intense or even grotesque the better, leaving collective subjectivity to the larger, more literally collective choral and dramatic genres. The traditional volkstümliches Lied became once again the domain of specialist composers, like Carl Loewe (1796–1869), who, though actually a couple of months older than Schubert, is usually thought of as belonging to a later generation since he lived so much longer. He remained faithful to the ballad and other genres of story-song into the 1860s, and also, in the spirit of Herder, set Slavic and Jewish folk texts in addition to German ones.
- Citation (MLA):
- Richard Taruskin. "Chapter 3 Volkstümlichkeit." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 6 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-003008.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 3 Volkstümlichkeit. In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 6 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-003008.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 3 Volkstümlichkeit." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 6 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-003008.xml