Which Foreign Musical Influence Had the Largest Effect on Romantic Fine Art Music?

Music of the Romantic menstruation

Romantic music is a stylistic movement in Western Classical music associated with the flow of the 19th century normally 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. ^[i]

Romantic composers sought to create music that was individualistic, emotional, dramatic and frequently 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 as nature, literature, poesy, super-natural elements or the fine arts. It included features such equally increased chromaticism and moved away from traditional forms.^[ii]

Background [edit]

The Romantic move 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.^[three] 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,^[four] and education,^[five] and was in plow influenced by developments in natural history.^[6]

One of the first meaning applications of the term to music was in 1789, in the Mémoires past 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'southward 5th Symphony published in 1810, and in an 1813 commodity on Beethoven'southward instrumental music. In the starting time of these essays Hoffmann traced the beginnings of musical Romanticism to the later on 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 especially instrumental music, to a position of pre-eminence in Romanticism every bit the art most suited to the expression of emotions. It was also through the writings of Hoffmann and other German authors that German language music was brought to the heart of musical Romanticism.^[seven]

Composers [edit]

Ludwig van Beethoven is considered i 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 use of extended chromatic harmony and expanded orchestration. Such subsequently Romantic composers include Anton Bruckner, Johannes Brahms, Pyotr Ilyich Tchaikovsky, Minor 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 fragmentary, thematic material while the Romantic period tended to brand 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;^[xi]
• a new attention given to national identity;^[nine]
• discontent with musical formulas and conventions;^[9]
• a greater accent on tune to sustain musical interest;^[12]
• increased chromaticism;^[ix]
• a harmonic construction based on motion from tonic to subdominant or alternative keys rather than the traditional ascendant, and use of more than elaborate harmonic progressions (Wagner and Liszt are known for their experimental progressions);^[ix]
• big, g 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 song cycle, nocturne, concert etude, arabesque and rhapsody, alongside the traditional classical genres;^[12]
• Program music became somewhat more common;^[12]
• the utilize of a wider range of dynamics, for case from ppp to fff , supported by large orchestration;^[nine]
• a greater tonal range (exp. using the everyman and highest notes of the piano);^[9]

In music there is a relatively articulate dividing line in musical structure and grade following the decease of Beethoven. Whether one counts Beethoven as a "romantic" composer or not, the breadth and power of his work gave rise to a feeling that the classical sonata class and, indeed, the structure of the symphony, sonata and string quartet had been wearied.^[13]

Trends of the 19th century [edit]

Non-musical influences [edit]

Events and changes in society such as ideas, attitudes, discoveries, inventions, and historical events often bear upon music. For case, the Industrial Revolution was in total issue by the late 18th century and early 19th century. This effect had a profound effect on music: there were major improvements in the mechanical valves and keys that nigh woodwinds and contumely instruments depend on. The new and innovative instruments could be played with greater ease and they were more reliable.^[xiv]

Another development that had an event on music was the rise of the middle class. Composers earlier this period lived on the patronage of the aristocracy. Many times their audience was pocket-size, composed more often than not of the upper class and individuals who were knowledgeable nearly 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.^[14] Composers of the Romantic Era, like Elgar, showed the world that in that location 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 catamenia, music ofttimes took on a much more 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 anytime gain independence from Russian control.^[17] Frédéric Chopin was 1 of the first composers to comprise nationalistic elements into his compositions. Joseph Machlis states, "Poland'southward struggle for freedom from tsarist rule angry 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 War 2 the Nazis forbade the playing of … Chopin'south Polonaises in Warsaw because of the powerful symbolism residing in these works".^[eighteen] Other composers, such as 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 2nd in a cycle of vi nationalistic symphonic poems collectively titled Má vlast (My Homeland).^[nineteen] Smetana also composed eight nationalist operas, all of which remain in the repertory. They established him equally the first Czech nationalist composer also as the most important Czech opera composer of the generation who came to prominence in the 1860s.^[20]

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). "Grade in Romantic Music". Studies in Romanticism. i (1): 29–39. doi:10.2307/25599538. JSTOR 25599538.
3. ^ "Romanticism - Music". Encyclopedia Britannica . Retrieved 9 Nov 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:x.2307/429469. JSTOR 429469.
5. ^ Gutek, Gerald Lee (1995). A history of the Western educational experience (2nd ed.). Prospect Heights, IL. ISBN0-88133-818-4. 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 Lexicon of Music and Musicians, 2nd Edition". Journal of Music Theory. 45 (ane): 204. doi:10.2307/3090656. ISSN 0022-2909. JSTOR 3090656.
8. ^ NEWMAN, WILLIAM South. (1983). "The Beethoven Mystique in Romantic Fine 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 k 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". Student Research, Creative Action, and Performance - Schoolhouse of Music: nine–13.
12. ^ ^{a b c} "The Romantic Period of Music". Connollymusic.com . Retrieved 16 November 2021.
13. ^ Hammond, Kathryn (1 May 1965). "The Sonata Grade and its Apply 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. [U.s.a.]: 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, ISBN0-393-99165-2, 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 Printing. doi:ten.1093/gmo/9781561592630.article.52076.

• Beard, David, and Kenneth Gloag. 2005. Musicology: The Primal Concepts. Cornwall: Routledge.
• Casey, Christopher. 2008. "'Grecian Grandeurs and the Rude Wasting of Onetime Fourth dimension': Britain, the Elgin Marbles, and Mail-Revolutionary Hellenism". Foundations three, no. 1:31–64 (Accessed 24 September 2012).
• Child, Fred. 2006. "Salonen on Sibelius". Performance Today. National Public Radio.
• Encyclopædia Britannica (due north.d.). "Romanticism". Britannica.com . Retrieved 24 August 2010.
• Feld, Marlon. n.d. "Summary of Western Classical Music History". Linked from John Ito, Music Humanities, section 16. New York: Columbia University (accessed 11 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, iii vols., Paris: Verdiere, 1812; Brussels: Whalen, 1829. Facsimile of the 1797 edition, Da Capo Press Music Reprint Series. New York: Da Capo Printing, 1971. Facsimile reprint in 1 volume 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 (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 due east Contre-Violon, ii Flûtes, petite Flûte, 2 Hautbois, 2 Clarinettes, 2 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. 5. des Sinfonies. (Pr. 4 Rthlr. 12 Gr.)". Allgemeine musikalische Zeitung 12, no. forty (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 (Jump): 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 University 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 Society 149, no. 3:304–15.
• 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 Project. ISBN ane-4116-5030-1.
• 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, 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. 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'southward 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 (Nov): 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; as well with Friedrich Nietzsche, "On Music and Words", translated by Walter Arnold Kaufmann. California Studies in 19th Century Music i. Berkeley: Academy of California Printing. ISBN 0-520-03679-4 (material); 0520067487 (pbk). Original High german edition, equally 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 Academy Printing. ISBN 0-521-26115-v (cloth); ISBN 0-521-27841-four (pbk). Original German edition, equally 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 11, no. ii:194–96.
• Einstein, Alfred. 1947. Music in the Romantic Era. New York: Westward. W. Norton.
• Geck, Martin. 1998. "Realismus". Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik begründe von Friedrich Blume, 2nd, revised edition, edited by 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: Westward. W. Norton.
• Bricklayer, Daniel Gregory. 1936. The Romantic Composers. New York: Macmillan.
• Plantinga, Leon. 1984. Romantic Music: A History of Musical Style in Nineteenth-Century Europe. A Norton Introduction to Music History. New York: W. Westward. 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 by Thomas South. Grey, 67–73. Cambridge and New York: Cambridge Academy Printing. 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 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 by Alison Latham. Oxford and New York: Oxford University Press. ISBN 0-19-866212-ii.
• Wehnert, Martin. 1998. "Romantik und romantisch". Dice 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

toutcherafteptelle.blogspot.com

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

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