1. Schubert often treats the piano as an integral part of the song he is setting, making it a character or object in the narrative. In “Erlkönig” (“King of the Elves”) the piano becomes the horse, galloping incessantly. In “Gretchen am Spinnrade” (“Gretchen at the Spinning Wheel”), the piano depicts the hum of the wheel as it spins.  Robert Schumann’s approach, on the other hand, is more pianistic. The piano generally frames the song with a prelude and a postlude, however brief. Frequently he also includes piano interludes, which provide moments of reflection or introspection.

2. Composers approached the art song differently from the aria. It is a miniature work, fusing music and text. It is meant to be performed in an intimate setting such as the salon, not the concert hall.