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71 Cards in this Set
- Front
- Back
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Melody
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A. Simple without ornamentation.
B. Elaborate with much ornamentation. C. Vocally conceived. (simple, small range) D. Instrumentally conceived. (large skips, range) |
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Texture
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Monophony: a single, unaccompanied line
Polyphony: a combination of melodic lines within many voices Homophony: a single line with vertical harmonic accompaniment. |
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Harmony
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A. Modal: ancient, Medieval and early to middle Renaissance music organized around the eight church modes
B. Tonal: organized around a central, home tone or chord (Baroque, Classical, Romantic and Contemporary) C. Atonal: the lack of a central tone, the lack of a pull toward a tonal center (early 20th century and Contemporary) |
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Rhythm
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A. Meter: regular or irregular pulse
B. Pace: fast, slow |
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Dynamics
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A. Terraced or Blocked (Medieval, Renaissance, Baroque)
B. Gradual (Classical, Romantic, Contemporary) |
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Timbre (Tone color)
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A. Vocal: Soprano, Alto, Tenor, Bass
B. Instrumental: String, Woodwind, Brass, Percussion |
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Form
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A. Theme and Variation
B. Repetition and Contrast |
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French Revolution Ideals:
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Liberté, Egalité, Fraternité
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Romantic times stressed
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Individuality, Emotion, Imagination
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Industrialism
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Occurred first in Britain
Power shifted from aristocratic landowners to middle class city dwellers. Populations moved from an agrarian center to an urban center. |
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Napoleon Bonaparte
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“After the defeat of Napoleon in 1815, the monarchy was restored in France and the old aristocratic order returned.
Revolutionary fervor and optimism gave way to disbelief and dissatisfaction and romanticism to a more realistic view of the world. People yearned for reform and a new society. |
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The Arts in the Romantic Period
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Stressed Individualism and Emotion
Breaking away from rules and convention Glorification of Nature Nostalgia The Macabre and the supernatural Exotic Influences Realism |
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Friedrich von Schiller (1759-1805)
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Schiller was a German playwright. Both of their writings were used to express romantic fascination with emotion, life and death, sin and redemption, guilt and selflessness. Romanticism was born towards the end of the 18th century with the works of these two great German writers.
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Johann Wolfgang von Goethe (1749-1832)
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Goethe wrote poetry, novels and plays. German. Both of their writings were used to express romantic fascination with emotion, life and death, sin and redemption, guilt and selflessness. Romanticism was born towards the end of the 18th century with the works of these two great German writers.
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Victor Hugo (1802-1885)
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French poet, playwright, novelist, essayist, visual artist, statesman, human rights activist
Explored the Romantic theme of conflict between the individual and society Les Miserables, 1862 |
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Charles Dickens (1812-1870)
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English novelist and social campaigner
Novels are works of social commentary Fierce critic of poverty and social stratification |
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Karl Marx (1818-1883)
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German philosopher and economist
The ideas of Marx, while most influential in the 20th century , said that the history of society is one of struggle between the ruling class (capitalists) and the working class (proletariat) who are being exploited. He predicted a revolution. He believed in a society in which all people give according to their means and take according to their needs.” |
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Charles Darwin (1809-1882)
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In On the Origin of Species, Darwin argued that all species of life on earth, whether human, animal or plant, were the result of what he called “natural selection”.
He coined the phrase “survival of the fittest” to explain why some species continue to exist while others die out. He believed that man was simply the end of a long chain of organisms that stretched back to the first forms of life. This theory challenged not only religion but also had social repercussions. |
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Art Song and Song Cycle
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Lieder, chansons, art songs
Compositions for solo voice and piano Poetry and music are intimately fused Typical forms used: strophic and through-composed |
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Franz Schubert (1787-1828)
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Austrian composer
Prolific and gifted composer who wrote 600 lieder, piano sonatas, character pieces, 15 string quartets, 9 symphonies Erlkönig (1815) poem by Johann Wolfgang von Goethe Through-composed form |
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Clara Wieck Schumann (1819-1896
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German composer and pianist
Married Robert Schumann and premiered many of his piano compositions Composed a piano concerto, piano trio, solo piano pieces and songs Romance |
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Visual Art
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Architechture, Sculpture, Painting
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Architecture
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The Romantic period did not produce its own distinguishing architectural style. Instead architects chose from the building styles of the previous eras resulting in an eclectic style
House of Parliament, Supreme Court, etc. |
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Industrial buildings
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A few buildings erected during the period showed how the Industrial Revolution had affected architecture.
Crystal Palace, London, made for World’s Fair 1851 Tour Eiffel, Paris |
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Francois Rude (1784-1855)
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Arc de Triomphe
“Departure of the Volunteers |
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Jean-Baptiste Carpeaux (1827-1875)
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“The Dance”, Opera Garnier
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Auguste Rodin (1840-1917
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The Burghers of Calais
The Thinker The Kiss The Gates of Hell |
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Eugene Delacroix (1798-1863)
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Leader of the Romantic movement, represented social concerns
Liberty Leading the People, 1831 |
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Camille Corot (1796-1875)
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View Near Volerra, 1838
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Francisco Goya (1746-1828)
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The Third of May, 1808
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Gustave Courbet (1819-1877)
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Burial at Ornans, 1850
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Impressionists
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Provided transition to the 20th century
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Claude Monet (1840-1926)
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Impression Sunrise, 1872
Rouen Cathedral, 1894 Impressionist |
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Edouard Manet (1832-1883)
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Dejeuner sur l’herbe, 1863
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Edgar Degas (1834-1917)
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The Rehearsal, 1874
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Pierre Auguste Renoir (1841-1919)
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Le Moulin de la Galette, 1897
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Georges Seurat (1859-1891)
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Sunday Afternoon on the Island of La Grande Jatte, 1886
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Vincent van Gogh (1853-1890)
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Starry Night, 1889
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Paul Gauguin (1848-1903)
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Day of the Gods, 1894
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Music
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Musical Milieu
Public and Subscription Concerts Founding of Conservatories |
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Composer
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Composers gradually left the patronage system and became free agents of their own works.
This meant that the composer, their music and their livelihood depended on the public’s approval. For the first time, a composer’s work might not be publicly performed during his or her lifetime. Romantics saw themselves as outsiders, isolated from mainstream society, struggling to express their creative ideas. In general, composers held higher social status than in the Classical period. |
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Performer
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Rise of virtuosic performers
the public was captured by virtuosity and showmanship Niccolo Paganini Franz Liszt |
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Conductor
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Resulted from the orchestras growth in numbers and complexity
Became necessary to have one person to lead and control the orchestra |
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Frédéric Chopin (1810-1849)
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Polish composer and pianist
Lived in Paris for most of his life Associated with George Sand (Aurore Dudevant) The only major composer to have completely oriented his creative life around the piano. Piano compositions are generally dances or free-form works (preludes, etudes, nocturnes and impromptus). Nocturne in E-Flat Major, Op. 9, No. 2, 1830-1831 Night piece |
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Franz Liszt (1811-1886)
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Hungarian composer and virtuosic pianist
Showman Daughter married Wagner Innovative composer both harmonically and formally. Used complex and unusual chords Created the symphonic poem and utilized thematic transformation (influenced Wagner) Composed two symphonies, symphonic poems, piano music, orchestral and operatic transcriptions Transcendental Etude No. 10 in F Minor, 1851 |
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General Music Characteristics
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Individuality
Expressive Aims and Subjects Nationalism and Exoticism Rise and Importance of Program Music |
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Melody
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Age of lyricism – unending melody
Melodies appealed to the emotions Phrases tended to be longer and irregular in length Themes were more complex and utilized chromaticism Advent of theme transformation (Berlioz, Wagner) |
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Harmony
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Basically tonal
By end of the 19th century chromaticism (movement by half steps) stretched tonality to the breaking point Chromaticism imbued greater dissonance and tension into the sound |
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Rhythm
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Metric
Rhythmic effects were used for “color” – rubato Articulations in the instruments tended to be heavy and intense A new vocabulary of music terms arose that indicated how to achieve the composer’s desired sound – cantabile, dolce, con amore, allegro agitato. These designations produced a more emotional sound and response. |
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Texture
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Essentially homophonic
The sonority tended to be thick, heavy and lush |
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Timbre/Instrumentation
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This period saw a full exploration of the instrumental families.
Instruments were used for both their individual and collective color potential. Instrumental timbre was used to convey mood and atmosphere. The orchestra became much larger – from 70 players to more than 100 (resulting in the necessity of a conductor). Instruments could play louder and carry farther. Instruments were capable of major changes in dynamics. |
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Strings
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String sections increased in size and were given more difficult accompaniment parts (scales, arpeggios)
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Development of new instruments
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saxophone (baritone and tuba) were invented by Adolf Sax
piccolo, bass clarinet and English horn were added. |
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Important improvements in wind instruments
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“Boehm system” of fingering for flutes and clarinets achieved better facility and intonation for the performer and greater musical range
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Brass
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Addition of valves and improvement to valves on brass instruments allowed the playing of a full chromatic compass for the first time and to more easily play quick runs of notes
Tubas and Trombones were added |
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Percussion
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Expanded to include bass drum, snare drum, cymbals and other exotic percussion instruments (gong, castanets)
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Vocal Genres
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Opera
Music Drama Mass and Requiem Art Song |
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Giuseppe Verdi (1813-1901)
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Italian composer of 15 operas, a Requiem, a string quartet
His music became a symbol of the Italian liberation movement (struggle against Austrian domination) Rigoletto, 1851 Act III – La donna è mobile |
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Giacomo Puccini (1858-1924
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Italian opera composer
Unlike Verdi and Wagner – did not involve himself in politics Known for his beautiful lyricism (critics often cite a “popular” less-crafted style of composition) La Bohème 1896 Act I: Rodolfo and Mimi arias |
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Richard Wagner (1813-1883)
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German composer for the stage – music dramas
Rejecting Italian opera, Wagner worked out a theory about combining poetry, music, philosophy and drama into one “complete art work” – music drama. He had complete control of every aspect of these music dramas – music, libretto, staging, costumes Incorporated German folktales and legends Used “leitmotifs” – thematic transformation Extreme use of chromaticism Die Walküre (The Valkyrie), 1856 The second of the four music dramas in Der Ring des Nibelungen Wagner uses Nordic mythology to warn that society destroys itself through lust for money and power. Act I, Love Scene |
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Instrumental Music
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Absolute music tended to reflect the Classical heritage of Mozart and Haydn; it tended to be more traditional in compositional style and instrumentation
Symphony, concerto, sonata, string quartet Program music was compositionally guided by a story, poem, idea or scene; it tended to be more progressive in compositional style and instrumentation Program symphony, Tone poem, Symphonic poem Character Pieces In contrast to the large instrumental genres, these were smaller pieces typically for piano called character pieces |
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Dynamics
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Gradual
Much wider range – extremes of dynamic variation Used extensively throughout the compositions |
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Form
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Stretching of the classical forms:
sonata-allegro rondo theme and variation minuet and trio |
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3 tonal scales
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major, minor, chromatic
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Traditionalists
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Tended to compose in the style of their teachers (classical era). While extending the elements of music, they rarely went outside of the norms.
Composer Examples: Brahms, Tchaikovsky Schumann, Mendelssohn, Franck, Schubert, Chopin, Mussorgsky, Rimsky-Korsakov, Puccini, Fanny Mendelssohn Hensel, Clara Schumann |
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Johannes Brahms (1833-1897)
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German composer – 4 symphonies, violin concerto, string quartets, 200 lieder, German Requiem
Befriended by the Schumann family Classicist in the Romantic period – often criticized for being “out of step” with the music of his time. Avoided newly invented forms (program symphony, tone poem) Preferred to say new things within traditional forms Symphony No. 4 in E minor, 1885 4th movement |
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Progressives
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Tended to extend the boundaries of traditional sound and scope in their compositions. They utilized new instrumental techniques and color. They used increasingly more chromaticism.
Composer Examples: Wagner, Liszt, Berlioz and Verdi |
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Hector Berlioz (1803-1869)
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French composer of programmatic works.
Most of his works call for huge instrumental and vocal forces Very influential in his techniques and writing about orchestration Symphonie fantastique, 1830 Program symphony in five movements Uses idée fixe – thematic transformation Fourth Movement: March to the Scaffold |
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Nationalists
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Following the many wars and conflicts of the 19th century country boundaries in Europe became more defined. Nationalistic music (music that highlighted folksongs, dances, folklore) abounded. Most nationalistic music followed a more traditional pattern of composition and sound. Many composers utilized nationalistic melodies, dances and stories.
Composer Examples: Smetana, Mussorgsky, Rimsky-Korsakov, Wagner, Chopin, Verdi, Puccini, Liszt |
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Modest Mussorgsky (1839-1881)
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Russian composer
One of the Russian Five: Mily Balakirev, Cesar Cui, Alexander Borodin, Nikolai Rimsky-Karsaov Modest Mussorgsky Utilized Russian folksongs – often based on church modes, irregular in meter Pictures at an Exhibition, 1874 Originally a cycle of piano pieces inspired by pictures in a memorial exhibition honoring Mussorgsky’s recently deceased friend, the Russian architect and artist Victor Hartmann. 10 pieces with descriptive titles This work is best known in its orchestrated version by Maurice Ravel (1922) Great Gate of Kiev |
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Bedřich Smetana (1824-1884)
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Bohemian (Czech Republic) composer of opera and symphonic poems, pianist and conductor
Founder of the Czech national music Music steeped in folk songs dances and legends of Bohemia The Moldau, 1874 Part of Ma Vlast, a cycle of symphonic poems |
