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Studycom the Use of in Music Is Like the Use of Color in Art Romantic Era

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Music of the Romantic menstruum

Romantic music is a stylistic motion in Western Classical music associated with the period of the 19th century commonly referred to every bit the Romantic era (or Romantic period). It is closely related to the broader concept of Romanticism—the intellectual, creative and literary motility that became prominent in Europe from approximately 1798 until 1837. [i]

Romantic composers sought to create music that was individualistic, emotional, dramatic and ofttimes programmatic; reflecting broader trends within the movements of Romantic literature, poesy, art, and philosophy. Romantic music was often ostensibly inspired by (or else sought to evoke) non-musical stimuli, such every bit nature, literature, poetry, super-natural elements or the fine arts. It included features such as increased chromaticism and moved away from traditional forms.[2]

Background [edit]

The Romantic movement was an artistic, literary, and intellectual move that originated in the second half of the 18th century in Europe and strengthened in reaction to the Industrial Revolution.[three] In office, information technology was a revolt against social and political norms of the Age of Enlightenment and a reaction confronting the scientific rationalization of nature (Casey 2008). It was embodied most strongly in the visual arts, music, literature,[four] and education,[five] and was in plow influenced by developments in natural history.[half-dozen]

One of the first meaning applications of the term to music was in 1789, in the Mémoires by the Frenchman André Grétry, but it 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 later works of Haydn and Mozart. Information technology 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 every bit the art most suited to the expression of emotions. It was as well through the writings of Hoffmann and other German authors that German music was brought to the center of musical Romanticism.[7]

Composers [edit]

Ludwig van Beethoven is considered one of the transitioning composers bridging the Classical era and the Romantic era.[8] 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 nineteenth-century composers would announced to build upon certain early Romantic ideas and musical techniques, such as 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 menstruum often used short, even fragmentary, thematic textile while the Romantic period tended to make greater utilize of longer, more fully defined and more than satisfying themes.[ commendation needed ]

Characteristics often attributed to Romanticism:

  • a new preoccupation with and surrender to nature;[nine]
  • a turn 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;[nine]
  • a greater emphasis on melody to sustain musical interest;[12]
  • increased chromaticism;[ix]
  • a harmonic structure based on movement from tonic to subdominant or alternative keys rather than the traditional dominant, and use of more elaborate harmonic progressions (Wagner and Liszt are known for their experimental progressions);[9]
  • large, grand orchestras were common during this period;[9]
  • increase in virtuosic players featured in orchestrations;[9]
  • the use of new or previously non so common musical structures like the vocal cycle, nocturne, concert etude, arabesque and rhapsody, alongside the traditional classical genres;[12]
  • Program music became somewhat more mutual;[12]
  • the use of a wider range of dynamics, for example from ppp to fff , supported past large orchestration;[9]
  • a greater tonal range (exp. using the everyman and highest notes of the piano);[ix]

In music there is a relatively clear dividing line in musical structure and form following the death of Beethoven. Whether ane counts Beethoven as a "romantic" composer or non, the latitude and ability of his work gave rising to a feeling that the classical sonata form and, indeed, the structure of the symphony, sonata and string quartet had been wearied.[13]

Trends of the 19th century [edit]

Not-musical influences [edit]

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

Another evolution that had an effect on music was the ascension of the heart form. Composers before this menses lived on the patronage of the aristocracy. Many times their audience was pocket-sized, composed mostly of the upper form and individuals who were knowledgeable well-nigh music.[14] The Romantic composers, on the other paw, often wrote for public concerts and festivals, with large audiences of paying customers, who had non necessarily had any music lessons.[14] Composers of the Romantic Era, like Elgar, showed the globe that there should exist "no segregation of musical tastes"[15] and that the "purpose was to write music that was to exist heard".[sixteen]

Nationalism [edit]

During the Romantic flow, music often took on a much more than nationalistic purpose. Composers composed with a distinct sound that represented their home country and traditions. For example, Jean Sibelius' Finlandia has been interpreted to represent the rising nation of Finland, which would someday gain independence from Russian control.[17] Frédéric Chopin was i of the outset composers to incorporate 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 especially notable for their use of nationalistic rhythms. Moreover, "During World War 2 the Nazis forbade the playing of … Chopin'southward 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 detail, Smetana'south Vltava is a symphonic poem about the Moldau River in the modern-day Czech republic and the second in a cycle of 6 nationalistic symphonic poems collectively titled Má vlast (My Homeland).[19] Smetana as well composed eight nationalist operas, all of which remain in the repertory. They established him every bit the first Czech nationalist composer as well equally the most of import Czech opera composer of the generation who came to prominence in the 1860s.[twenty]

Run into besides [edit]

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

References [edit]

  1. ^ "The Romantic Period". Easternnct.edu . Retrieved 27 Feb 2022.
  2. ^ Truscott, Harold (1961). "Course 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 Journal of Aesthetics and Fine art Criticism. 30 (4): 537–543. doi:10.2307/429469. JSTOR 429469.
  5. ^ Gutek, Gerald Lee (1995). A history of the Western educational feel (2nd ed.). Prospect Heights, IL. ISBN0-88133-818-4. OCLC 32464830.
  6. ^ Nichols, Ashton. ""Roaring Alligators and Burning Tygers: Poesy 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:10.2307/3090656. ISSN 0022-2909. JSTOR 3090656.
  8. ^ NEWMAN, WILLIAM South. (1983). "The Beethoven Mystique in Romantic Art, Literature, and Music". The Musical Quarterly. LXIX (iii): 354–387. doi:10.1093/mq/lxix.three.354. ISSN 0027-4631.
  9. ^ a b c d due east f grand h i Wildridge, Dr Justin. "Characteristics of Romantic Era Music - CMUSE". Cmuse.org . Retrieved 9 November 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". Student Inquiry, Creative Activeness, and Functioning - School of Music: 9–xiii.
  12. ^ a b c "The Romantic Period of Music". Connollymusic.com . Retrieved 16 November 2021.
  13. ^ Hammond, Kathryn (1 May 1965). "The Sonata Form and its Use in Beethoven's First Seventeen Piano 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 of america]: 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 9 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 V. (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:10.1093/gmo/9781561592630.commodity.52076.
  • Beard, David, and Kenneth Gloag. 2005. Musicology: The Key Concepts. Cornwall: Routledge.
  • Casey, Christopher. 2008. "'Grecian Grandeurs and the Rude Wasting of Old Fourth dimension': Uk, the Elgin Marbles, and Post-Revolutionary Hellenism". Foundations 3, no. 1:31–64 (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. n.d. "Summary of Western Classical Music History". Linked from John Ito, Music Humanities, department 16. New York: Columbia University (accessed 11 April 2016).
  • Grétry, André-Ernest-Modeste. 1789. Mémoires, ou Essai sur la musique. 3 vols. Paris: Chez fifty'auteur, de L'Imprimerie de la république, 1789. Second, 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 Printing Music Reprint Serial. New York: Da Capo Press, 1971. Facsimile reprint in i 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 (fabric); ISBN 0882251023 (de luxe).
  • Gutek, Gerald Lee. 1995. A History of the Western Educational Feel, 2nd edition. Prospect Heights, Ill.: Waveland Press. ISBN 0881338184.
  • Hoffmann, Ernst Theodor Amadeus. 1810. "Recension: Sinfonie pour 2 Violons, two Violes, Violoncelle eastward Contre-Violon, 2 Flûtes, petite Flûte, two Hautbois, 2 Clarinettes, ii Bassons, Contrabasson, ii 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 (Spring): 93–109. (subscription required)
  • Levin, David. 1959. History as Romantic Fine art: Bancroft, Prescott, and Parkman. Stanford Studies in Linguistic communication and Literature 20, Stanford: Stanford Academy Press. Reprinted as a Harbinger Book, New York: Harcourt, Caryatid & Globe Inc., 1963. Reprinted, New York: AMS Printing, 1967.
  • Machlis, Joseph. 1963.[ total citation needed ]
  • Nichols, Ashton. 2005. "Roaring Alligators and Burning Tygers: Poetry and Science from William Bartram to Charles Darwin". Proceedings of the American Philosophical Club 149, no. 3:304–15.
  • Ottlová, Marta, John Tyrrell, and Milan Pospíšil. 2001. "Smetana, Bedřich [Friedrich]". The New Grove Dictionary of Music and Musicians, 2d edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Philips, Abbey. 2011. "Spacebomb: Truth Lies Somewhere in Betwixt". 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-i.
  • 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, 2d, thoroughly revised and profoundly expanded edition. 2 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 commencement published in Die Musik in Geschichte und Gegenwart. New York: Due west. W. 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'due south Educational Serial. (Hardcover) ISBN 0-7641-5136-3; ISBN 978-0-7641-5136-1.
  • Dahlhaus, Carl. 1979. "Neo-Romanticism". 19th-Century Music iii, no. 2 (Nov): 97–105.
  • Dahlhaus, Carl. 1980. Between Romanticism and Modernism: Iv Studies in the Music of the Later on Nineteenth Century, translated by Mary Whittall in collaboration with Arnold Whittall; too with Friedrich Nietzsche, "On Music and Words", translated by Walter Arnold Kaufmann. California Studies in 19th Century Music 1. Berkeley: University of California Press. ISBN 0-520-03679-four (cloth); 0520067487 (pbk). Original German edition, as Zwischen Romantik und Moderne: vier Studien zur Musikgeschichte des späteren xix. Jahrhunderts. Munich: Musikverlag Katzbichler, 1974.
  • Dahlhaus, Carl. 1985. Realism in Nineteenth-Century Music, translated by Mary Whittall. Cambridge and New York: Cambridge Academy Press. ISBN 0-521-26115-5 (cloth); ISBN 0-521-27841-4 (pbk). Original German edition, every bit Musikalischer Realismus: zur Musikgeschichte des 19. Jahrhunderts. Munich: R. Piper, 1982. ISBN 3-492-00539-10.
  • Dahlhaus, Carl. 1987. Untitled review of Leon Plantinga, Romantic Music: A History of Musical Styles in Nineteenth-Century Europe and Album 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, second, revised edition, edited by Ludwig Finscher. Sachteil viii: Quer–Swi, cols. 91–99. Kassel, Basel, London, New York, Prague: Bärenreiter; Suttgart and Weimar: Metzler. ISBN 3-7618-1109-8 (Bärenreiter); ISBN three-476-41008-0 (Metzler).
  • Grout, Donald Jay. 1960. A History of Western Music. New York: W. W. Norton & Visitor, Inc.
  • Lang, Paul Henry. 1941. Music in Western Civilization. New York: W. Westward. Norton.
  • Mason, Daniel Gregory. 1936. The Romantic Composers. New York: Macmillan.
  • Plantinga, Leon. 1984. Romantic Music: A History of Musical Manner 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 Printing. ISBN 0-674-77933-9.
  • 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 past Thomas S. Gray, 67–73. Cambridge and New York: Cambridge Academy Press. ISBN 0-521-64299-Ten (fabric); ISBN 0-521-64439-nine (pbk).
  • Wagner, Richard. 1995. Opera and Drama, translated by William Ashton Ellis. Lincoln: University of Nebraska Press. Originally published as 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 past Alison Latham. Oxford and New York: Oxford Academy Press. 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, 2d 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

garneryouncesomed.blogspot.com

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

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