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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 menses). It 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. [1]

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 past (or else sought to evoke) non-musical stimuli, such equally nature, literature, poetry, super-natural elements or the fine arts. Information technology included features such every bit increased chromaticism and moved away from traditional forms.[2]

Background [edit]

The Romantic movement was an artistic, literary, and intellectual movement that originated in the second one-half of the 18th century in Europe and strengthened in reaction to the Industrial Revolution.[3] In part, it was a revolt against social and political norms of the Historic period of Enlightenment and a reaction confronting the scientific rationalization of nature (Casey 2008). It was embodied nearly strongly in the visual arts, music, literature,[four] and instruction,[five] and was in plow influenced past developments in natural history.[half dozen]

One of the first significant applications of the term to music was in 1789, in the Mémoires by the Frenchman André Grétry, but information technology was E. T. A. Hoffmann who really established the principles of musical romanticism, in a lengthy review of Ludwig van Beethoven's Fifth Symphony published in 1810, and in an 1813 commodity on Beethoven'south instrumental music. In the starting time of these essays Hoffmann traced the ancestry of musical Romanticism to the later works of Haydn and Mozart. Information technology was Hoffmann'south fusion of ideas already associated with the term "Romantic", used in opposition to the restraint and formality of Classical models, that elevated music, and peculiarly instrumental music, to a position of pre-eminence in Romanticism as the art most suited to the expression of emotions. It was also through the writings of Hoffmann and other German language authors that German music was brought to the center of musical Romanticism.[7]

Composers [edit]

Ludwig van Beethoven is considered i of the transitioning composers bridging the Classical era and the Romantic era.[viii] 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 equally the use of extended chromatic harmony and expanded orchestration. Such later Romantic composers include Anton Bruckner, Johannes Brahms, Pyotr Ilyich Tchaikovsky, Small-scale 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 material while the Romantic period tended to make greater use of longer, more fully defined and more satisfying themes.[ citation needed ]

Characteristics often attributed to Romanticism:

  • a new preoccupation with and give up to nature;[9]
  • a plough towards the mystic and supernatural, both religious and unearthly;[x]
  • a focus on the nocturnal, the ghostly, the frightful, and terrifying;[eleven]
  • a new attention given to national identity;[9]
  • discontent with musical formulas and conventions;[nine]
  • a greater emphasis on melody to sustain musical involvement;[12]
  • increased chromaticism;[nine]
  • a harmonic structure based on movement from tonic to subdominant or culling keys rather than the traditional dominant, and use of more elaborate harmonic progressions (Wagner and Liszt are known for their experimental progressions);[ix]
  • big, thousand orchestras were common during this catamenia;[9]
  • increment in virtuosic players featured in orchestrations;[9]
  • the use of new or previously non and then common musical structures similar the song bike, nocturne, concert etude, arabesque and rhapsody, alongside the traditional classical genres;[12]
  • Program music became somewhat more than mutual;[12]
  • the apply of a wider range of dynamics, for example from ppp to fff , supported by large orchestration;[nine]
  • a greater tonal range (exp. using the lowest and highest notes of the piano);[ix]

In music there is a relatively clear dividing line in musical construction and course post-obit the death of Beethoven. Whether ane counts Beethoven as a "romantic" composer or not, the latitude and power of his piece of work gave ascent to a feeling that the classical sonata form and, indeed, the structure of the symphony, sonata and string quartet had been exhausted.[xiii]

Trends of the 19th century [edit]

Non-musical influences [edit]

Events and changes in gild such equally ideas, attitudes, discoveries, inventions, and historical events oft affect music. For instance, the Industrial Revolution was in total effect by the late 18th century and early 19th century. This outcome had a profound effect on music: in that location were major improvements in the mechanical valves and keys that most woodwinds and brass instruments depend on. The new and innovative instruments could be played with greater ease and they were more reliable.[14]

Another development that had an issue on music was the rise of the heart class. Composers before this menstruation lived on the patronage of the aristocracy. Many times their audience was pocket-size, equanimous more often than not of the upper course and individuals who were knowledgeable about music.[14] The Romantic composers, on the other hand, often wrote for public concerts and festivals, with large audiences of paying customers, who had not necessarily had any music lessons.[fourteen] Composers of the Romantic Era, like Elgar, showed the world that there should be "no segregation of musical tastes"[15] and that the "purpose was to write music that was to be heard".[16]

Nationalism [edit]

During the Romantic menses, music often took on a much more nationalistic purpose. Composers composed with a distinct sound that represented their home state 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 1 of the kickoff composers to contain nationalistic elements into his compositions. Joseph Machlis states, "Poland's struggle for freedom from tsarist rule 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 particularly notable for their use of nationalistic rhythms. Moreover, "During World War II the Nazis forbade the playing of … Chopin'south Polonaises in Warsaw because of the powerful symbolism residing in these works".[18] Other composers, such as Bedřich Smetana, wrote pieces that musically described their homelands. In particular, Smetana's Vltava is a symphonic verse form about the Moldau River in the modern-day Czechia and the second in a bicycle of half-dozen nationalistic symphonic poems collectively titled Má vlast (My Homeland).[19] Smetana also equanimous eight nationalist operas, all of which remain in the repertory. They established him as the first Czech nationalist composer as well as the nearly important Czech opera composer of the generation who came to prominence in the 1860s.[twenty]

See also [edit]

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

References [edit]

  1. ^ "The Romantic Period". 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 nine November 2021.
  4. ^ Kravitt, Edward F. (1972). "The Affect of Naturalism on Music and the Other Arts during the Romantic Era". The Periodical of Aesthetics and Art Criticism. xxx (four): 537–543. doi:ten.2307/429469. JSTOR 429469.
  5. ^ Gutek, Gerald Lee (1995). A history of the Western educational experience (2nd ed.). Prospect Heights, IL. ISBN0-88133-818-four. OCLC 32464830.
  6. ^ Nichols, Ashton. ""Roaring Alligators and Burning Tygers: Poetry and Scientific discipline from William Bartram to Charles Darwin"". Proceedings of the American Philosophical Society. 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:x.2307/3090656. ISSN 0022-2909. JSTOR 3090656.
  8. ^ NEWMAN, WILLIAM Southward. (1983). "The Beethoven Mystique in Romantic Art, Literature, and Music". The Musical Quarterly. LXIX (three): 354–387. doi:10.1093/mq/lxix.3.354. ISSN 0027-4631.
  9. ^ a b c d eastward f m 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 ix November 2021.
  11. ^ Boyd, Delane (1 May 2016). "Uncanny Conversations: Depictions of the Supernatural in Dialogue Lieder of the Nineteenth Century". Student Enquiry, Creative Activity, and Performance - School 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 Use in Beethoven's Beginning Seventeen Pianoforte Sonatas". All Graduate Theses and Dissertations: 26–28. doi:10.26076/6295-2596.
  14. ^ a b c Schmidt-Jones, Catherine (2006). Introduction to music theory. Russell Jones. [United States]: Connexions. ISBNi-4116-5030-i. OCLC 71229581.
  15. ^ Marshall., Immature, 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 nine November 2021.
  18. ^ a b music., Machlis, Joseph, 1906-1998.tEnjoyment of (1990), Recordings for The enjoyment of music and The Norton scores, Norton, ISBN0-393-99165-2, 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:ten.1093/gmo/9781561592630.commodity.52076.
  • Beard, David, and Kenneth Gloag. 2005. Musicology: The Fundamental Concepts. Cornwall: Routledge.
  • Casey, Christopher. 2008. "'Grecian Grandeurs and the Rude Wasting of Erstwhile Time': Britain, the Elgin Marbles, and Post-Revolutionary Hellenism". Foundations 3, no. one:31–64 (Accessed 24 September 2012).
  • Child, Fred. 2006. "Salonen on Sibelius". Performance Today. National Public Radio.
  • Encyclopædia Britannica (n.d.). "Romanticism". Britannica.com . Retrieved 24 August 2010.
  • Feld, Marlon. northward.d. "Summary of Western Classical Music History". Linked from John Ito, Music Humanities, section sixteen. New York: Columbia University (accessed eleven April 2016).
  • Grétry, André-Ernest-Modeste. 1789. Mémoires, ou Essai sur la musique. 3 vols. Paris: Chez l'auteur, de 50'Imprimerie de la république, 1789. Second, enlarged edition, Paris: Imprimerie de la république, pluviôse, 1797. Republished, iii 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 volume of the 1829 Brussels edition, Bibliotheca musica Bononiensis, Sezione III no. 43. Bologna: Forni Editore, 1978.
  • Grunfeld, Frederic V. 1974. Music. New York: Newsweek Books. ISBN 0-88225-101-5 (cloth); 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 east Contre-Violon, 2 Flûtes, petite Flûte, 2 Hautbois, 2 Clarinettes, 2 Bassons, Contrabasson, two Cors, 2 Trompettes, Timbales et 3 Trompes, composée et dediée etc. par Louis van Beethoven. à Leipsic, chez Breitkopf et Härtel, Oeuvre 67. No. 5. des Sinfonies. (Pr. 4 Rthlr. 12 Gr.)". Allgemeine musikalische Zeitung 12, no. 40 (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 (Bound): 93–109. (subscription required)
  • Levin, David. 1959. History as Romantic Fine art: Bancroft, Prescott, and Parkman. Stanford Studies in Language and Literature 20, Stanford: Stanford University Printing. Reprinted every bit a Straw Book, New York: Harcourt, Caryatid & World Inc., 1963. Reprinted, New York: AMS Printing, 1967.
  • Machlis, Joseph. 1963.[ full citation needed ]
  • Nichols, Ashton. 2005. "Roaring Alligators and Called-for Tygers: Poetry and Science from William Bartram to Charles Darwin". Proceedings of the American Philosophical Order 149, no. 3:304–15.
  • Ottlová, Marta, John Tyrrell, and Milan Pospíšil. 2001. "Smetana, Bedřich [Friedrich]". The New Grove Dictionary of Music and Musicians, second 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 5 October 2015)
  • Samson, Jim. 2001. "Romanticism". The New Grove Dictionary of Music and Musicians, 2nd 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 Project. ISBN 1-4116-5030-1.
  • Young, 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. 2 vols. Berlin-Wilmersdorf: H. Keller. Reprinted, Tutzing: Schneider, 1961.
  • Blume, Friedrich. 1970. Classic and Romantic Music, translated by K. D. Herter Norton from ii essays get-go published in Die Musik in Geschichte und Gegenwart. New York: Westward. West. Norton.
  • Boyer, Jean-Paul. 1961. "Romantisme". Encyclopédie de la musique, edited past 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'southward Educational Series. (Hardcover) ISBN 0-7641-5136-three; ISBN 978-0-7641-5136-1.
  • 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 Subsequently Nineteenth Century, translated by Mary Whittall in collaboration with Arnold Whittall; besides with Friedrich Nietzsche, "On Music and Words", translated by Walter Arnold Kaufmann. California Studies in 19th Century Music one. Berkeley: University of California Press. ISBN 0-520-03679-4 (material); 0520067487 (pbk). Original German language 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 by Mary Whittall. Cambridge and New York: Cambridge University Press. ISBN 0-521-26115-five (textile); ISBN 0-521-27841-4 (pbk). Original High german edition, as Musikalischer Realismus: zur Musikgeschichte des xix. Jahrhunderts. Munich: R. Piper, 1982. ISBN iii-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 11, no. 2:194–96.
  • Einstein, Alfred. 1947. Music in the Romantic Era. New York: West. W. Norton.
  • Geck, Martin. 1998. "Realismus". Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik begründe von Friedrich Blume, 2d, 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 iii-476-41008-0 (Metzler).
  • Grout, Donald Jay. 1960. A History of Western Music. New York: W. Due west. Norton & Visitor, Inc.
  • Lang, Paul Henry. 1941. Music in Western Civilization. New York: Westward. Due west. Norton.
  • Mason, 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. West. Norton. ISBN 0-393-95196-0; ISBN 978-0-393-95196-7.
  • Rosen, Charles. 1995. The Romantic Generation. Cambridge, Massachusetts: Harvard University Printing. 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 S. Grey, 67–73. Cambridge and New York: Cambridge Academy Printing. ISBN 0-521-64299-X (cloth); ISBN 0-521-64439-nine (pbk).
  • Wagner, Richard. 1995. Opera and Drama, translated by William Ashton Ellis. Lincoln: Academy of Nebraska Printing. Originally published as volume ii 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 Printing. ISBN 0-19-866212-2.
  • Wehnert, Martin. 1998. "Romantik und romantisch". Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopädie der Musik, begründet von Friedrich Blume, second revised edition. Sachteil 8: 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

brindletherage1977.blogspot.com

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

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