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what trend inspired composers to write music evoking sounds of far-off lands?

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Music of the Romantic period

Romantic music is a stylistic motility in Western Classical music associated with the period of the 19th century commonly referred to equally 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. [1]

Romantic composers sought to create music that was individualistic, emotional, dramatic and frequently programmatic; reflecting broader trends inside the movements of Romantic literature, poetry, art, and philosophy. Romantic music was ofttimes ostensibly inspired by (or else sought to evoke) non-musical stimuli, such as nature, literature, poesy, 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 movement that originated in the second half of the 18th century in Europe and strengthened in reaction to the Industrial Revolution.[3] In part, information technology was a revolt against social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature (Casey 2008). It was embodied most strongly in the visual arts, music, literature,[4] and educational activity,[v] and was in turn influenced past developments in natural history.[6]

One of the beginning significant applications of the term to music was in 1789, in the Mémoires by the Frenchman André Grétry, only it was Due east. 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's instrumental music. In the first of these essays Hoffmann traced the beginnings of musical Romanticism to the later 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 particularly instrumental music, to a position of pre-eminence in Romanticism every bit the art nigh suited to the expression of emotions. Information technology was also through the writings of Hoffmann and other High german authors that German music was brought to the eye of musical Romanticism.[7]

Composers [edit]

Ludwig van Beethoven is considered ane of the transitioning composers bridging the Classical era and the Romantic era.[8] Other influential composers of the early on 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 appear to build upon certain early Romantic ideas and musical techniques, such as the employ of extended chromatic harmony and expanded orchestration. Such later 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 oft used short, even fragmentary, thematic material while the Romantic flow tended to make greater use of longer, more fully defined and more satisfying themes.[ commendation needed ]

Characteristics often attributed to Romanticism:

  • a new preoccupation with and surrender to nature;[9]
  • 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;[9]
  • a greater accent on melody to sustain musical interest;[12]
  • increased chromaticism;[9]
  • a harmonic structure based on movement from tonic to subdominant or alternative keys rather than the traditional dominant, and apply of more elaborate harmonic progressions (Wagner and Liszt are known for their experimental progressions);[nine]
  • big, yard orchestras were mutual during this flow;[nine]
  • increase in virtuosic players featured in orchestrations;[9]
  • the use of new or previously not so common musical structures like the vocal cycle, nocturne, concert etude, arabesque and rhapsody, aslope the traditional classical genres;[12]
  • Program music became somewhat more common;[12]
  • the use of a wider range of dynamics, for case from ppp to fff , supported by big orchestration;[nine]
  • a greater tonal range (exp. using the lowest and highest notes of the pianoforte);[9]

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 not, the latitude and power of his work gave rise to a feeling that the classical sonata form and, indeed, the structure of the symphony, sonata and cord quartet had been exhausted.[13]

Trends of the 19th century [edit]

Non-musical influences [edit]

Events and changes in order such equally ideas, attitudes, discoveries, inventions, and historical events often touch on music. For example, the Industrial Revolution was in full issue by the belatedly 18th century and early 19th century. This outcome had a profound issue 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 development that had an effect on music was the ascension of the middle grade. Composers earlier this flow lived on the patronage of the aristocracy. Many times their audition was modest, composed mostly of the upper grade and individuals who were knowledgeable virtually music.[fourteen] The Romantic composers, on the other mitt, frequently wrote for public concerts and festivals, with big audiences of paying customers, who had not necessarily had any music lessons.[14] Composers of the Romantic Era, like Elgar, showed the world that in that location should exist "no segregation of musical tastes"[15] and that the "purpose was to write music that was to be heard".[xvi]

Nationalism [edit]

During the Romantic menstruation, music often took on a much more nationalistic purpose. Composers composed with a distinct audio that represented their home country and traditions. For example, Jean Sibelius' Finlandia has been interpreted to stand for the rising nation of Finland, which would anytime gain independence from Russian command.[17] Frédéric Chopin was one of the showtime 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 peculiarly notable for their use of nationalistic rhythms. Moreover, "During Globe State of war II the Nazis forbade the playing of … Chopin's Polonaises in Warsaw because of the powerful symbolism residing in these works".[18] Other composers, such equally Bedřich Smetana, wrote pieces that musically described their homelands. In particular, Smetana's Vltava is a symphonic poem about the Moldau River in the modern-day Czechia and the second in a cycle of vi nationalistic symphonic poems collectively titled Má vlast (My Homeland).[19] Smetana also composed eight nationalist operas, all of which remain in the repertory. They established him as the first Czech nationalist composer as well as the well-nigh important Czech opera composer of the generation who came to prominence in the 1860s.[20]

See also [edit]

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

References [edit]

  1. ^ "The Romantic Menstruation". Easternnct.edu . Retrieved 27 February 2022.
  2. ^ Truscott, Harold (1961). "Form in Romantic Music". Studies in Romanticism. one (i): 29–39. doi:ten.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 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: Poetry and Science from William Bartram to Charles Darwin"". Proceedings of the American Philosophical Society. 149 (iii): 304–315.
  7. ^ Rothstein, William; Sadie, Stanley; Tyrrell, John (2001). "Manufactures on Schenker and Schenkerian Theory in The New Grove Lexicon of Music and Musicians, second Edition". Journal of Music Theory. 45 (1): 204. doi:x.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:10.1093/mq/lxix.3.354. ISSN 0027-4631.
  9. ^ a b c d e f g h i Wildridge, Dr Justin. "Characteristics of Romantic Era Music - CMUSE". Cmuse.org . Retrieved nine November 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". Educatee Inquiry, Creative Action, and Performance - Schoolhouse of Music: nine–xiii.
  12. ^ a b c "The Romantic Menses 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. ISBNi-4116-5030-one. 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-ii, OCLC 1151514105, retrieved nine Nov 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.
  • Beard, David, and Kenneth Gloag. 2005. Musicology: The Cardinal Concepts. Cornwall: Routledge.
  • Casey, Christopher. 2008. "'Grecian Grandeurs and the Rude Wasting of Old Time': Uk, the Elgin Marbles, and Mail-Revolutionary Hellenism". Foundations 3, no. 1:31–64 (Accessed 24 September 2012).
  • Kid, Fred. 2006. "Salonen on Sibelius". Functioning Today. National Public Radio.
  • Encyclopædia Britannica (northward.d.). "Romanticism". Britannica.com . Retrieved 24 August 2010.
  • Feld, Marlon. due north.d. "Summary of Western Classical Music History". Linked from John Ito, Music Humanities, section xvi. 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 L'Imprimerie de la république, 1789. Second, enlarged edition, Paris: Imprimerie de la république, pluviôse, 1797. Republished, three 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 (textile); ISBN 0882251023 (de luxe).
  • Gutek, Gerald Lee. 1995. A History of the Western Educational Experience, 2nd edition. Prospect Heights, Sick.: Waveland Press. ISBN 0881338184.
  • Hoffmann, Ernst Theodor Amadeus. 1810. "Recension: Sinfonie cascade 2 Violons, two Violes, Violoncelle east Contre-Violon, 2 Flûtes, petite Flûte, 2 Hautbois, 2 Clarinettes, 2 Bassons, Contrabasson, 2 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. one (Spring): 93–109. (subscription required)
  • Levin, David. 1959. History as Romantic Art: Bancroft, Prescott, and Parkman. Stanford Studies in Language and Literature 20, Stanford: Stanford Academy Press. Reprinted as a Harbinger Book, New York: Harcourt, Brace & World Inc., 1963. Reprinted, New York: AMS Printing, 1967.
  • Machlis, Joseph. 1963.[ full commendation needed ]
  • Nichols, Ashton. 2005. "Roaring Alligators and Called-for Tygers: Poetry and Science from William Bartram to Charles Darwin". Proceedings of the American Philosophical Club 149, no. 3:304–fifteen.
  • Ottlová, Marta, John Tyrrell, and Milan Pospíšil. 2001. "Smetana, Bedřich [Friedrich]". The New Grove Lexicon 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 Lexicon 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.

Farther 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, 2nd, thoroughly revised and greatly expanded edition. 2 vols. Berlin-Wilmersdorf: H. Keller. Reprinted, Tutzing: Schneider, 1961.
  • Blume, Friedrich. 1970. Archetype and Romantic Music, translated by M. D. Herter Norton from two essays first published in Die Musik in Geschichte und Gegenwart. New York: West. Due west. 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 Series. (Hardcover) ISBN 0-7641-5136-3; ISBN 978-0-7641-5136-1.
  • Dahlhaus, Carl. 1979. "Neo-Romanticism". 19th-Century Music 3, no. 2 (November): 97–105.
  • Dahlhaus, Carl. 1980. Betwixt Romanticism and Modernism: Four Studies in the Music of the Later 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 1. Berkeley: Academy of California Press. ISBN 0-520-03679-4 (cloth); 0520067487 (pbk). Original German language edition, as Zwischen Romantik und Moderne: vier Studien zur Musikgeschichte des späteren nineteen. Jahrhunderts. Munich: Musikverlag Katzbichler, 1974.
  • Dahlhaus, Carl. 1985. Realism in Nineteenth-Century Music, translated by Mary Whittall. Cambridge and New York: Cambridge University Printing. ISBN 0-521-26115-five (cloth); ISBN 0-521-27841-iv (pbk). Original High german edition, equally Musikalischer Realismus: zur Musikgeschichte des 19. Jahrhunderts. Munich: R. Piper, 1982. ISBN 3-492-00539-Ten.
  • 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". Dice Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik begründe von Friedrich Blume, second, revised edition, edited by Ludwig Finscher. Sachteil eight: 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: West. Due west. Norton & Visitor, Inc.
  • Lang, Paul Henry. 1941. Music in Western Civilization. New York: West. West. 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: Westward. 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 0-674-77933-9.
  • 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 by Thomas S. Grey, 67–73. Cambridge and New York: Cambridge University Printing. ISBN 0-521-64299-10 (cloth); ISBN 0-521-64439-nine (pbk).
  • Wagner, Richard. 1995. Opera and Drama, translated by William Ashton Ellis. Lincoln: Academy of Nebraska Press. Originally published equally volume 2 of Richard Wagner'due south 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-xix-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 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

glovermousee1986.blogspot.com

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

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