Sprechgesang

(, "spoken singing") and (, "spoken voice"), sometimes known as speak-singing in English, are expressionist musical vocal techniques between singing and speaking. Though sometimes used interchangeably, is directly related to the operatic recitative manner of singing (in which pitches are sung, but the articulation is rapid and loose like speech), whereas is closer to speech itself (because it does not emphasise any particular pitches). is more closely aligned with the long-used musical techniques of recitative or than is . Where the term is employed in this way, it is usually in the context of the late Romantic German operas or "music dramas" that were composed by Richard Wagner and others in the 19th century. Thus, is often merely a German alternative to 'recitative'. The earliest compositional use of the technique was in the first version of Engelbert Humperdinck's 1897 melodrama Königskinder (in the 1910 version it was replaced by conventional singing), where it may have been intended to imitate a style already in use by singers of lieder and popular song, but it is more closely associated with the composers of the Second Viennese School. Arnold Schoenberg asks for the technique in a number of pieces: the part of the Speaker in Gurre-Lieder (1911) is written in his notation for , but it was Pierrot lunaire (1912) where he used it throughout and left a note attempting to explain the technique. Alban Berg adopted the technique and asked for it in parts of his operas Wozzeck and Lulu. History