In Broad Terms Music and Other Arts of the Romantic Period

Music of the Romantic period

Romantic music is a stylistic movement in Western Classical music associated with the period of the 19th century commonly referred to as the Romantic era (or Romantic period). Information technology is closely related to the broader concept of Romanticism—the intellectual, artistic and literary movement that became prominent in Europe from approximately 1798 until 1837. ^[ane]

Romantic composers sought to create music that was individualistic, emotional, dramatic and often programmatic; reflecting broader trends within the movements of Romantic literature, poetry, art, and philosophy. Romantic music was often ostensibly inspired by (or else sought to evoke) non-musical stimuli, such equally nature, literature, verse, super-natural elements or the fine arts. It included features such as increased chromaticism and moved away from traditional forms.^[two]

Background [edit]

The Romantic movement was an artistic, literary, and intellectual movement that originated in the 2nd half of the 18th century in Europe and strengthened in reaction to the Industrial Revolution.^[3] In office, it was a defection against social and political norms of the Age of Enlightenment and a reaction confronting the scientific rationalization of nature (Casey 2008). It was embodied near strongly in the visual arts, music, literature,^[4] and pedagogy,^[5] and was in plough influenced by developments in natural history.^[6]

One of the commencement significant applications of the term to music was in 1789, in the Mémoires by the Frenchman André Grétry, only information technology was East. T. A. Hoffmann who really established the principles of musical romanticism, in a lengthy review of Ludwig van Beethoven's 5th Symphony published in 1810, and in an 1813 article on Beethoven's instrumental music. In the first of these essays Hoffmann traced the beginnings of musical Romanticism to the subsequently works of Haydn and Mozart. It was Hoffmann's fusion of ideas already associated with the term "Romantic", used in opposition to the restraint and formality of Classical models, that elevated music, and especially instrumental music, to a position of pre-eminence in Romanticism as the art most suited to the expression of emotions. Information technology was also through the writings of Hoffmann and other German language authors that German language music was brought to the eye of musical Romanticism.^[vii]

Composers [edit]

Ludwig van Beethoven is considered 1 of the transitioning composers bridging the Classical era and the Romantic era.^[eight] Other influential composers of the early Romantic era include Hector Berlioz, Frédéric Chopin, Fanny Mendelssohn, Felix Mendelssohn, Gioachino Rossini, Vincenzo Bellini, Gaetano Donizetti, Niccolò Paganini, Franz Schubert, Clara Schumann, Robert Schumann, and Carl Maria von Weber.

Later on nineteenth-century composers would appear to build upon certain early on Romantic ideas and musical techniques, such as the use of extended chromatic harmony and expanded orchestration. Such later on Romantic composers include Anton Bruckner, Johannes Brahms, Pyotr Ilyich Tchaikovsky, Modest Mussorgsky, Antonín Dvořák, Alexander Borodin, Franz Liszt, Richard Wagner, Gustav Mahler, Richard Strauss, Giuseppe Verdi, Giacomo Puccini, Nikolai Rimsky-Korsakov, Arnold Schoenberg, Edward Elgar, Edvard Grieg, Gabriel Fauré, and Sergei Rachmaninoff.

Traits [edit]

The classical period often used short, even bitty, thematic fabric while the Romantic period tended to make greater utilize of longer, more than fully divers and more satisfying themes.^{[ citation needed ]}

Characteristics often attributed to Romanticism:

• a new preoccupation with and surrender to nature;^[9]
• a plough towards the mystic and supernatural, both religious and unearthly;^[10]
• a focus on the nocturnal, the ghostly, the frightful, and terrifying;^[11]
• a new attention given to national identity;^[9]
• discontent with musical formulas and conventions;^[9]
• a greater emphasis on melody to sustain musical interest;^[12]
• increased chromaticism;^[9]
• a harmonic construction based on motility from tonic to subdominant or alternative keys rather than the traditional dominant, and use of more than elaborate harmonic progressions (Wagner and Liszt are known for their experimental progressions);^[9]
• large, grand orchestras were common during this menstruation;^[9]
• increase in virtuosic players featured in orchestrations;^[9]
• the use of new or previously not so common musical structures like the song bike, nocturne, concert etude, arabesque and rhapsody, alongside the traditional classical genres;^[12]
• Program music became somewhat more common;^[12]
• the apply of a wider range of dynamics, for example from ppp to fff , supported by large orchestration;^[9]
• a greater tonal range (exp. using the lowest and highest notes of the pianoforte);^[9]

In music there is a relatively articulate dividing line in musical structure and form post-obit the death of Beethoven. Whether ane counts Beethoven as a "romantic" composer or non, the breadth and ability of his work gave rise to a feeling that the classical sonata form and, indeed, the structure of the symphony, sonata and string quartet had been exhausted.^[13]

Trends of the 19th century [edit]

Not-musical influences [edit]

Events and changes in lodge such as ideas, attitudes, discoveries, inventions, and historical events ofttimes affect music. For instance, the Industrial Revolution was in full effect by the late 18th century and early 19th century. This outcome had a profound effect on music: there were major improvements in the mechanical valves and keys that almost woodwinds and contumely instruments depend on. The new and innovative instruments could exist played with greater ease and they were more reliable.^[14]

Another development that had an effect on music was the rise of the heart class. Composers before this period lived on the patronage of the elite. Many times their audience was small, composed more often than not of the upper grade and individuals who were knowledgeable nigh music.^[14] The Romantic composers, on the other manus, often wrote for public concerts and festivals, with large audiences of paying customers, who had non necessarily had whatsoever music lessons.^[14] Composers of the Romantic Era, similar Elgar, showed the world that at that place should be "no segregation of musical tastes"^[fifteen] and that the "purpose was to write music that was to be heard".^[xvi]

Nationalism [edit]

During the Romantic period, music often took on a much more nationalistic purpose. Composers equanimous with a distinct audio that represented their home land and traditions. For case, Jean Sibelius' Finlandia has been interpreted to represent the rising nation of Finland, which would anytime gain independence from Russian control.^[17] Frédéric Chopin was one of the first composers to incorporate nationalistic elements into his compositions. Joseph Machlis states, "Poland's struggle for freedom from tsarist dominion aroused the national poet in Poland. … Examples of musical nationalism abound in the output of the romantic era. The folk idiom is prominent in the Mazurkas of Chopin".^[18] His mazurkas and polonaises are especially notable for their use of nationalistic rhythms. Moreover, "During World War II the Nazis forbade the playing of … Chopin's Polonaises in Warsaw considering of the powerful symbolism residing in these works".^[xviii] Other composers, such equally Bedřich Smetana, wrote pieces that musically described their homelands. In particular, Smetana'due south Vltava is a symphonic poem about the Moldau River in the modern-solar day Czech Democracy and the second in a cycle of six nationalistic symphonic poems collectively titled Má vlast (My Homeland).^[19] Smetana also composed 8 nationalist operas, all of which remain in the repertory. They established him as the first Czech nationalist composer as well as the about important Czech opera composer of the generation who came to prominence in the 1860s.^[xx]

Run across likewise [edit]

• History of music
• List of Romantic-era composers
• Neoromanticism (music)

References [edit]

1. ^ "The Romantic Flow". Easternnct.edu . Retrieved 27 February 2022.
2. ^ Truscott, Harold (1961). "Form in Romantic Music". Studies in Romanticism. 1 (1): 29–39. doi:10.2307/25599538. JSTOR 25599538.
3. ^ "Romanticism - Music". Encyclopedia Britannica . Retrieved 9 November 2021.
4. ^ Kravitt, Edward F. (1972). "The Impact of Naturalism on Music and the Other Arts during the Romantic Era". The Periodical of Aesthetics and Art Criticism. 30 (iv): 537–543. doi:10.2307/429469. JSTOR 429469.
5. ^ Gutek, Gerald Lee (1995). A history of the Western educational feel (second ed.). Prospect Heights, IL. ISBN0-88133-818-4. OCLC 32464830.
6. ^ Nichols, Ashton. ""Roaring Alligators and Burning Tygers: Poetry and Science from William Bartram to Charles Darwin"". Proceedings of the American Philosophical Social club. 149 (3): 304–315.
7. ^ Rothstein, William; Sadie, Stanley; Tyrrell, John (2001). "Articles on Schenker and Schenkerian Theory in The New Grove Dictionary of Music and Musicians, 2nd Edition". Journal of Music Theory. 45 (1): 204. doi:10.2307/3090656. ISSN 0022-2909. JSTOR 3090656.
8. ^ NEWMAN, WILLIAM S. (1983). "The Beethoven Mystique in Romantic Art, Literature, and Music". The Musical Quarterly. LXIX (3): 354–387. doi:x.1093/mq/lxix.3.354. ISSN 0027-4631.
9. ^ ^{a b c d e f chiliad h i} Wildridge, Dr Justin. "Characteristics of Romantic Era Music - CMUSE". Cmuse.org . Retrieved 9 Nov 2021.
10. ^ "Composers on Nature". All Classical Portland . Retrieved 9 November 2021.
11. ^ Boyd, Delane (1 May 2016). "Uncanny Conversations: Depictions of the Supernatural in Dialogue Lieder of the Nineteenth Century". Pupil Research, Creative Activity, and Functioning - Schoolhouse of Music: 9–13.
12. ^ ^{a b c} "The Romantic Period of Music". Connollymusic.com . Retrieved 16 November 2021.
13. ^ Hammond, Kathryn (1 May 1965). "The Sonata Course and its Employ in Beethoven's First Seventeen Piano Sonatas". All Graduate Theses and Dissertations: 26–28. doi:ten.26076/6295-2596.
14. ^ ^{a b c} Schmidt-Jones, Catherine (2006). Introduction to music theory. Russell Jones. [United States]: Connexions. ISBN1-4116-5030-1. OCLC 71229581.
15. ^ Marshall., Young, Percy (1967). A history of British music. p. 525. OCLC 164772776.
16. ^ Marshall., Young, Percy (1967). A history of British music. p. 527. OCLC 164772776.
17. ^ "Salonen on Sibelius: 'Finlandia'". NPR.org . Retrieved ix November 2021.
18. ^ ^{a b} music., Machlis, Joseph, 1906-1998.tEnjoyment of (1990), Recordings for The enjoyment of music and The Norton scores, Norton, ISBN0-393-99165-two, OCLC 1151514105, retrieved 9 November 2021
19. ^ Grunfeld, Frederic Five. (1974). Music. New York: Newsweek Books. pp. 112–113. ISBN0-88225-101-5. OCLC 908483.
20. ^ Ottlová, Marta; Pospíšil, Milan; Tyrrell, John (2001). Smetana, Bedřich. Oxford Music Online. Oxford University Press. doi:x.1093/gmo/9781561592630.commodity.52076.

• Bristles, David, and Kenneth Gloag. 2005. Musicology: The Key Concepts. Cornwall: Routledge.
• Casey, Christopher. 2008. "'Grecian Grandeurs and the Rude Wasting of Old Fourth dimension': Britain, the Elgin Marbles, and Postal service-Revolutionary Hellenism". Foundations 3, no. 1:31–64 (Accessed 24 September 2012).
• Child, Fred. 2006. "Salonen on Sibelius". Operation Today. National Public Radio.
• Encyclopædia Britannica (due north.d.). "Romanticism". Britannica.com . Retrieved 24 Baronial 2010.
• Feld, Marlon. n.d. "Summary of Western Classical Music History". Linked from John Ito, Music Humanities, section 16. New York: Columbia Academy (accessed eleven April 2016).
• Grétry, André-Ernest-Modeste. 1789. Mémoires, ou Essai sur la musique. three vols. Paris: Chez l'auteur, de 50'Imprimerie de la république, 1789. 2nd, enlarged edition, Paris: Imprimerie de la république, pluviôse, 1797. Republished, 3 vols., Paris: Verdiere, 1812; Brussels: Whalen, 1829. Facsimile of the 1797 edition, Da Capo Press Music Reprint Series. New York: Da Capo Press, 1971. Facsimile reprint in 1 book of the 1829 Brussels edition, Bibliotheca musica Bononiensis, Sezione Three no. 43. Bologna: Forni Editore, 1978.
• Grunfeld, Frederic V. 1974. Music. New York: Newsweek Books. ISBN 0-88225-101-5 (fabric); ISBN 0882251023 (de luxe).
• Gutek, Gerald Lee. 1995. A History of the Western Educational Experience, second edition. Prospect Heights, Ill.: Waveland Press. ISBN 0881338184.
• Hoffmann, Ernst Theodor Amadeus. 1810. "Recension: Sinfonie pour 2 Violons, 2 Violes, Violoncelle e Contre-Violon, two Flûtes, petite Flûte, 2 Hautbois, 2 Clarinettes, ii Bassons, Contrabasson, 2 Cors, two Trompettes, Timbales et 3 Trompes, composée et dediée etc. par Louis van Beethoven. à Leipsic, chez Breitkopf et Härtel, Oeuvre 67. No. five. des Sinfonies. (Pr. 4 Rthlr. 12 Gr.)". Allgemeine musikalische Zeitung 12, no. xl (4 July), cols. 630–42 [Der Beschluss folgt.]; 12, no. 41 (11 July), cols. 652–59.
• Kravitt, Edward F. 1992. "Romanticism Today". The Musical Quarterly 76, no. 1 (Leap): 93–109. (subscription required)
• Levin, David. 1959. History every bit Romantic Art: Bancroft, Prescott, and Parkman. Stanford Studies in Language and Literature xx, Stanford: Stanford Academy Press. Reprinted every bit a Harbinger Book, New York: Harcourt, Caryatid & Earth Inc., 1963. Reprinted, New York: AMS Press, 1967.
• Machlis, Joseph. 1963.^{[ full citation needed ]}
• Nichols, Ashton. 2005. "Roaring Alligators and Burning Tygers: Poetry and Science from William Bartram to Charles Darwin". Proceedings of the American Philosophical Gild 149, no. 3:304–15.
• Ottlová, Marta, John Tyrrell, and Milan Pospíšil. 2001. "Smetana, Bedřich [Friedrich]". The New Grove Dictionary of Music and Musicians, 2nd edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
• Philips, Abbey. 2011. "Spacebomb: Truth Lies Somewhere in Between". RVA News: Joaquin in Memphis. (accessed five October 2015)
• Samson, Jim. 2001. "Romanticism". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
• Schmidt-Jones, Catherine, and Russell Jones. 2004. Introduction to Music Theory. [Houston, TX]: Connexions Projection. ISBN 1-4116-5030-1.
• Immature, Percy Marshall. 1967. A History of British Music. London: Benn.

Further reading [edit]

• Adler, Guido. 1911. Der Stil in der Musik. Leipzig: Breitkopf & Härtel.
• Adler, Guido. 1919. Methode der Musikgeschichte. Leipzig: Breitkopf & Härtel.
• Adler, Guido. 1930. Handbuch der Musikgeschichte, second, thoroughly revised and greatly expanded edition. two vols. Berlin-Wilmersdorf: H. Keller. Reprinted, Tutzing: Schneider, 1961.
• Blume, Friedrich. 1970. Classic and Romantic Music, translated by M. D. Herter Norton from two essays first published in Dice Musik in Geschichte und Gegenwart. New York: W. Westward. Norton.
• Boyer, Jean-Paul. 1961. "Romantisme". Encyclopédie de la musique, edited by François Michel, with François Lesure and Vladimir Fédorov, 3:585–87. Paris: Fasquelle.
• Cavalletti, Carlo. 2000. Chopin and Romantic Music, translated by Anna Maria Salmeri Pherson. Hauppauge, NY: Barron's Educational Series. (Hardcover) ISBN 0-7641-5136-3; ISBN 978-0-7641-5136-i.
• Dahlhaus, Carl. 1979. "Neo-Romanticism". 19th-Century Music 3, no. 2 (November): 97–105.
• Dahlhaus, Carl. 1980. Between Romanticism and Modernism: Four Studies in the Music of the Later on Nineteenth Century, translated past Mary Whittall in collaboration with Arnold Whittall; as well with Friedrich Nietzsche, "On Music and Words", translated by Walter Arnold Kaufmann. California Studies in 19th Century Music one. Berkeley: University of California Printing. ISBN 0-520-03679-4 (fabric); 0520067487 (pbk). Original German edition, as Zwischen Romantik und Moderne: vier Studien zur Musikgeschichte des späteren 19. Jahrhunderts. Munich: Musikverlag Katzbichler, 1974.
• Dahlhaus, Carl. 1985. Realism in Nineteenth-Century Music, translated past Mary Whittall. Cambridge and New York: Cambridge University Printing. ISBN 0-521-26115-5 (fabric); ISBN 0-521-27841-4 (pbk). Original German edition, as Musikalischer Realismus: zur Musikgeschichte des 19. Jahrhunderts. Munich: R. Piper, 1982. ISBN 3-492-00539-X.
• Dahlhaus, Carl. 1987. Untitled review of Leon Plantinga, Romantic Music: A History of Musical Styles in Nineteenth-Century Europe and Anthology of Romantic Music, translated by Ernest Sanders. 19th Century Music xi, no. 2:194–96.
• Einstein, Alfred. 1947. Music in the Romantic Era. New York: W. W. Norton.
• Geck, Martin. 1998. "Realismus". Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik begründe von Friedrich Blume, 2nd, revised edition, edited past Ludwig Finscher. Sachteil 8: Quer–Swi, cols. 91–99. Kassel, Basel, London, New York, Prague: Bärenreiter; Suttgart and Weimar: Metzler. ISBN 3-7618-1109-8 (Bärenreiter); ISBN 3-476-41008-0 (Metzler).
• Grout, Donald Jay. 1960. A History of Western Music. New York: W. Due west. Norton & Company, Inc.
• Lang, Paul Henry. 1941. Music in Western Civilization. New York: Due west. W. Norton.
• Stonemason, Daniel Gregory. 1936. The Romantic Composers. New York: Macmillan.
• Plantinga, Leon. 1984. Romantic Music: A History of Musical Fashion in Nineteenth-Century Europe. A Norton Introduction to Music History. New York: W. W. Norton. ISBN 0-393-95196-0; ISBN 978-0-393-95196-7.
• Rosen, Charles. 1995. The Romantic Generation. Cambridge, Massachusetts: Harvard University Press. ISBN 0-674-77933-nine.
• Rummenhöller, Peter. 1989. Romantik in der Musik: Analysen, Portraits, Reflexionen. Munich: Deutscher Taschenbuch Verlag; Kassel and New York: Bärenreiter. ISBN 9783761812365 (Bärenreiter); ISBN 9783761844939 (Taschenbuch Verlag); ISBN 9783423044936 (Taschenbuch Verlag).
• Spencer, Stewart. 2008. "The 'Romantic Operas' and the Turn to Myth". In The Cambridge Companion to Wagner, edited by Thomas Due south. Greyness, 67–73. Cambridge and New York: Cambridge Academy Press. ISBN 0-521-64299-X (cloth); ISBN 0-521-64439-9 (pbk).
• Wagner, Richard. 1995. Opera and Drama, translated by William Ashton Ellis. Lincoln: Academy of Nebraska Press. Originally published every bit volume 2 of Richard Wagner's Prose Works (London: Kegan Paul, Trench, Trubner & Co., 1900), a translation from Gesammelte Schriften und Dichtungen (Leipzig, 1871–73, 1883).
• Warrack, John. 2002. "Romanticism". The Oxford Companion to Music, edited by Alison Latham. Oxford and New York: Oxford University Press. ISBN 0-19-866212-two.
• Wehnert, Martin. 1998. "Romantik und romantisch". Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopädie der Musik, begründet von Friedrich Blume, second revised edition. Sachteil viii: Quer–Swi, cols. 464–507. Basel, Kassel, London, Munich, and Prague: Bärenreiter; Stuttgart and Weimar: Metzler.

External links [edit]

• Music of the Romantic Era
• The Romantic Era
• Era on line

wilcoxthole1981.blogspot.com

Source: https://en.wikipedia.org/wiki/Romantic_music

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