Franz Schubert – Die Erlköing D. 328 – This art song presents an excellent example of the interaction between text and music. Here the piano acts as a character, the horse, while the vocalist portrays multiple characters. The singer is the Elf King, father, and son. While here the music does not portray the text in a literal way, it does enhance the drama and help spark the listener’s imagination. The piano and various vocal parts create a dramatic world, a world where it is easy to believe that you—the listener—are being hounded and chased by the dreaded Elf King. This art song also provides a perfect example of Schubert’s tendency to grant the piano broad independence and dramatic force. Here the piano is no mere accompanist but rather an active participant in drawing us into the moment of song.

Carl Orff – Carmina Burana – This work, which emphasizes rhythm over melodic development, contains texts as capricious and ironic as the Medieval “Wheel of Fate” on which the cantata is based. This work serves as an excellent example of words as sound and music; it is the texture, acoustic, and syllabic properties of the words that compel the work forward. The irony, eroticism, and outright humor of the texts, and the musical settings that highlight these elements result in a work full of vitality and razor sharp commentary.

Edith Piaf, Louis Armstrong, Grace Jones, and Cyndi Lauper – La Vie En Rose – This classic example of the modern French chanson gained popularity with the dark and tortured vocal style of Edith Piaf. One of the most covered songs of the modern French chanson literature, this song has been translated, reimagined, and reinvented by numerous famous vocalists. Listening to these various versions of La Vie En Rose highlights the significance of the performer in song interpretation. Furthermore, these performances show how easy it is to change the perception of a song not simply by changing the voice but also the historical period of the recording and the genre of music the performer represents.