Composers of the Romantic Era, like Elgar, showed the world that there should be "no segregation of musical tastes" (Young 1967, 525) and that the "purpose was to write music that was to be heard" (Young 1967, 527). H
Romanticism (also known as the Romantic era) was an artistic, literary, musical, and intellectual movement that originated in Europe towards the end of the 18th century, and in most areas was at its peak in the approximate period from 1800 to 1850.
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- Turn of The Century Music
- Late-Romantic to Modern Music
- Gustav Mahler
- Claude Debussy
If there are two things I love, it's music and time travel. Luckily, they're basically the same thing. Music gives us a glimpse into people's lives, attitudes, beliefs, goals, and cultural aspirations. It's basically like traveling back in time. What mattered to people in ancient Rome? Look at their music. What was going on in the 13 colonies in the 1700s? Check out their music. How was the world changing in the late 19th century? You guessed it! The answer is in the music.
So, where are we? The late 19th century, which in terms of music would put us in the Late-Romanticperiod, the cultural era and musical genre that flourished from roughly 1850-1900. This was a big transitional period for music, and really for the world in general. Romantic music was a big deal, especially in Europe, and over the last several decades it had defined people's ideas about music. In general, Romantic musicis characterized by a focus on subjective emotion and personal experience, national pride, and musical richness or flamboyance requiring virtuosic skill. Before this, music was often stiff and rigid - beautiful, but focused on achieving an almost academic perfection. The rules were strict. Romantic composers started to bend these rules, playing with new ideas, sounds, and even instruments. By the Late-Romantic period, composers were obsessed with pushing the limits of music, and this is where we see the transition into Modernism, the music of the 20th century, characteri...
Looks like the first composer on stage today is Gustav Mahler, an Austrian composer of the late 19th century. Mahler was one of the last great Romantic composers from this region, and his compositions represent the synthesis of a century of Austro-German Romantic music into something new and fresh. Mahler wrote symphonies, compositions with several musical parts made to be played by large ensembles. Now, remember when we talked about Late-Romantic music breaking rules and experimenting with compositions in new and unexpected ways? Mahler's symphonies were unique in that they were narrative, meaning they followed something of a storyline because they were based in emotional experiences. This isn't a dry, objective piece of technically perfect music. It's driven by Mahler's own personal emotions dealing with the subject of death; that's the theme of the narrative that drives the music and gives it direction. Mahler also creates this sense of narrative by using vocals as a major part o...
Next up on our musical trip back in time is Claude Debussy, a Late-Romantic French composer of the late 19th and early 20th century most associated with Impressionism. The Impressionists were painters who used color to capture the feeling of a passing moment in time, to capture an impression. Debussy did a similar thing with music, although he never personally liked the term Impressionism. His compositions were created to evoke the impression of a mood, emotion, feeling, or atmosphere. Just as Impressionists used layers of colors with rough textures, so did Debussy. The only difference is that he used layers of harmonies to build texture. Not only did Debussy rely on the personal, subjective emotional experience, he also heavily experimented with exotic chords and scales from places like Asia and Africa, bringing non-European motifs into European music. This was partly a reflection of the world at the time, as the French extended their economic power into Japan and Asia.
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- The First Generation in Britain and Germany
- The Second Generation in Britain and Germany
- French Romanticism
Romanticism in Britain and Germany did indeed begin in the late 1790s as the young intellectual generation's response to the great hopes and correspondingly crushing disappointments of the French Revolution. The German Romantic poet Novalis wittily referred to the revolution, meaning his generation's reaction to it, as a puberty crisis. But if it was, the Romantics unwittingly revolutionized Western adolescence by inventing a new ideal of the self, which would become the maturational ideal of truly free and fully self-aware moderns. The first Romantics comprised an actual demographic generation; all were born within a few years of 1770, all came of age around the outbreak of the Revolution in 1789, all were its ardent partisans. They came to it out of personal motives of rebellion against hierarchical societies and paternalistic families on behalf of freedom of vocational choice and sexual self-expression.Implicitly already political and social, their rebellion found in the Revoluti...
Romanticism in Britain and Germany diverged in the second generation as a result of very different political experiences during and after the Napoleonic wars. Freed from the climate of oppressive wartime fear, though not from the continuing repressive policies of the British government, Byron and Shelley felt it was time to revive the original radical impulse of the first generation, and sharply criticized Wordsworth for his frightened apostasy from the cause of liberty. Both, however, understood the legitimate reasons for his fearfulness: Freedom had been perverted during the Revolution, and its champions knew that they had to explore and exorcise the inner temptations that a fledging radical autonomy bred before it could be safely embraced. In his dramatic poems "Manfred" (1816) and "Cain" (1821), Byron wrestled with the problem of guilt over (possibly sexual) misuse of freedom and of the religious temptations of forgiveness and consolation at the cost of submission to authority,...
Paradoxically, given the role of the Revolution in fostering Romanticism, French Romanticism began a few years later than British and German, in part because French writers could be more directly involved in the politics than their European counterparts. Perhaps for this reason too it took a somewhat different course in the first generation; two of its main protagonists, de Staël and Constant, remained liberal, if chastened, revolutionaries. It was de Staël, in her extraordinarily influential Of Germany(1810), who brought German Romanticism to French, and wider European, notice. But it was the young aristocrat Chateaubriand who first dazzled France with an indigenous version of Romanticism. Initially a supporter of the Revolution, he had left, disillusioned by its violence, for the United States to investigate the pristine republican virtue of the native "noble savages," acclaimed by Jean-Jacques Rousseau and a generation of Enlightenment writers. It was in the wilderness, however,...
Abrams, Meyer H. Natural Supernaturalism: Tradition and Revolution in Romantic Literature. New York: Norton, 1971. Behler, Ernst. Unendliche Perfektabilität: Europäische Romantik und Französische Revolution. Paderborn, Germany: Schöningh, 1989. Beiser, Frederick C. Enlightenment, Revolution and Romanticism: The Genesis of Modern German Political Thought, 1790–1800. Cambridge, Mass.: Harvard UniversityPress, 1992. Butler, Marilyn. Romantics, Rebels and Reactionaries: English Literature and its Background, 1760–1830. Oxford: Oxford UniversityPress, 1982. Curran, Stuart, ed. The Cambridge Companion to British Romanticism. Cambridge, U.K.: Cambridge UniversityPress, 1993. De Man, Paul. The Rhetoric of Romanticism. New York: Columbia UniversityPress, 1984. Favret, Mary A., and Watson, Nicola J., eds. At the Limits of Romanticism: Essays in Cultural, Feminist, and Materialist Criticism.Bloomington: Indiana University Press, 1994. Feldman, Paula R., and Kelley, Theresa M., eds. Romantic Wo...
Composers of the Romantic Era, like Elgar, showed the world that there should be "no segregation of musical tastes" (Young 1967, 525) and that the "purpose was to write music that was to be heard" (Young 1967, 527). M
Jul 02, 2016 · The Romantic era didn’t just show up overnight on everyone’s doorstep – there was a long transition period near the end of the Classical era that began signaling a new artistic era. Sound of Romantic Period Music. The arts are always connected, be it music, writing, visual arts, and so on. So Romantic music is related to the Romanticism ...
Lecture 16 The Romantic Era: The categories which it has become customary to use in distinguishing and classifying "movements" in literature or philosophy and in describing the nature of the significant transitions which have taken place in taste and in opinion, are far too rough, crude, undiscriminating -- and none of them so hopelessly as the category "Romantic."
Jan 30, 2020 · The five composers I voted for all have something in common: they were unconcerned with keeping up with the latest fashions and were relatively free of outside influence. They were, in short, utterly individual.
During the Romantic era, composers drew increasing support from the growing middle class.