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Carl Dahlhaus, one of the great thinkers of the Romantic Period believed that Romanticism brought together three key characteristics. The first of which is exoticism, meaning an interest in anything that is not familiar. Some commonly used examples of this in the romantic arts were influence from the Far East, and mythology. A specific occurrence of this was German philosopher Friedrich Nietzsche's idea that music came from the God Apollo and the Goddess Dionysus. A second characteristic is folklorism, meaning drawing from folkloric music. Third and finally, romanticism exhibits historicism, meaning that it commonly shows interest in artists of the past, and in the re-creation of their works. The music of the famous Baroque composer Johann Sebastian Bach, for example, was re-discovered during the Romantic Period. Dahlhaus believed that by these three characteristics, the former Classical style was being abandoned.

Romantic music is an enduring artistic value and a vital legacy.

• What is Romantic about the program and music of Berlioz’s Symphonie fantastique?

The Romantic Era Of Opera Music Essay.

Romanticism in music was characterized by an emphasis on emotion and great freedom of form. It attained its fullest development in the works of German composers. Although elements of romanticism are present in the music of , , and , it reached its zenith in the works of , , , , , and . Less totally romantic composers usually placed in the middle period of romanticism are , , , and ; those grouped in the last phase include , , , Richard , and .

Romanticism in Music Essay -- Romanticism Essays

Many romantic composers, including Mendelssohn, Schumann, Chopin, and Brahms, worked in small forms that are flexible in structure, e.g., prelude, intermezzo, nocturne, ballad, and cappriccio, especially in solo music for the piano. Another romantic contribution was the art song for voice and piano, most notably the German lied (see ). Romantic composers, particularly Liszt, in combining music and literature, created the . Berlioz also made use of literature; much of his work is described as . Romantic opera began with Weber, included the works of the Italians , , , and , and culminated in the work of Wagner, who aimed at a complete synthesis of the arts in his idea of [total work of art].

The movie tells of 7 characteristics of Romanticism from Walt Whitman’s “Songs of Joy”
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Romanticism in Music and Poetry Essay - 775 Words

Why did musical improvisation die in the eighteenth century, to be fully reborn only in jazz? Until the late eighteenth century, musicians were trained to improvise and embellish, and even to create entire compositions spontaneously. But by the Romantic period, improvisation had almost become a lost art. Although organists and opera singers continued to learn how to improvise, for most instrumentalists the art of spontaneous improvisation survived only in the solo cadenza. From a modern perspective, the decline of improvisation seems paradoxical, because modern listeners think of spontaneity as a characteristic of Romanticism. Improvisation is most often associated with jazz. But there are other forms- international and very old forms, long pre-dating jazz- which are associated with it as well. There is flamenco, in which improvisation is an integral part of the form, with master players being able to perform for hours at a time without stopping. And then of course there's raga. The rules for improvisation here are much more strict than with jazz, but once again it's not unusual for performers to go for hours. And despite the rules, the performers do have a lot of leeway. In each of these cases, the music and the expectations place upon it by the audience all tie in to the music's social function. Flamenco is viewed as a way of life; raga is steeped in philosophical and religious precepts. In these cultures, improvisation is not only acknowledged as valid, it's fully expected as part of the proceedings. Perhaps one cause of the loss of improvisation was the loss of a system of musical shorthand that made instant composition easy: figured bass notation. The modern jazz improviser uses "fake books" which contain chord symbols - the standard modern shorthand for harmonies. The standard musical shorthand in the eighteenth century was figured bass, or thorough-bass. Instead of using chord names, it indicated harmonic patterns by means of numerical notations above a written bass line. Three- and four-part harmonic accompaniment to the bass line was worked out instantaneously. The most important eighteenth-century text on thorough-bass notation was (Dresden, 1728), by Johann David Heinichen. For music students who do not read German, Heinichen's work is clearly explained (and partially translated) by George J. Buelow, in his Thorough-Bass Accompaniment According to Johann David Heinichen, rev. ed., Studies in Musicology, No. 84 (Lincoln: U of Nebraska P, 1986).

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Music History 102 - The Romantic Era - Internet Public Library

. In music, the romantic school emerged during the 1820’s and reached the peak of its development in the last decades of the 19th century, a period referred to as the neoromantic. Romantic music developed first in Austria (Schubert), Germany (E. T. A. Hoffmann, C. M. von Weber, L. Spohr, Mendelssohn, Schumann, and Wagner), and Italy (Paganini, Bellini, the early Verdi). Somewhat later, it emerged in France (Berlioz, D. F. Auber, Meyerbeer), Poland (Chopin), and Hungary (Liszt). In each country a national form of romantic music developed, and in some countries, diverse romantic trends took shape, such as the Leipzig and Weimar schools in Germany. Without having become an entirely independent mode of expression, musical romanticism was, in a number of countries, manifested in the work of individual composers (for example, A. A. Aliab’ev, A. N. Verstovskii, the young M. I. Glinka, Rim-sky-Korsakov and other members of the Russian Five, Tchaikovsky, and A. N. Scriabin of Russia; B. Smetana and A. Dvořák of Bohemia; and E. Grieg of Norway). In Austria and Germany important features of romanticism were developed in the creative work of composers such as Brahms, A. Bruckner, and R. Strauss.

• Romanticism in Music

Romanticism In Music And Poetry Essays - …

After , composers turned their attention to the expression of intense feelings in their music. This expression of emotion was the focus of all the arts of the self-described "Romantic" movement. Whether in the nature imagery or passionate violence found in the paintings of Friederich, Delacroix, and Goya, the strange and fanciful literature of Edgar Allan Poe, or the adventure and myths of the great collections of fairy tales and folk poetry, the depiction in art of the beautiful, the strange, the sublime, and the morbid was the ruling credo of the period.
In music, the nineteenth century saw the creation and evolution of new genres such as the program symphony, pioneered by Beethoven and now developed by ; its off-shoot, the symphonic poem was developed by ; the concert overture, examples of which were composed by and virtually every composer thereafter; and short, expressive piano pieces written for the bourgeois salons of Europe by and . Italian operas were composed in the traditions, and these led directly to the masterworks of , while the idea of the German music drama was established by . For inspiration, many Romantic composers turned to the visual arts, to poetry, drama and literature, and to nature itself. Using the classical forms of sonata and symphony as a starting point, composers began focusing more on new melodic styles, richer harmonies, and ever more dissonance, in the pursuit of moving their audiences, rather than concerning themselves with the structural discipline of Classical forms. of the nineteenth century would further build on the forms and ideas developed by the Romantic composers.