{"id":536,"date":"2015-06-03T23:30:46","date_gmt":"2015-06-03T23:30:46","guid":{"rendered":"https:\/\/courses.candelalearning.com\/musicx15xmaster\/?post_type=chapter&p=536"},"modified":"2015-07-13T19:04:08","modified_gmt":"2015-07-13T19:04:08","slug":"program-music-and-the-program-symphony","status":"publish","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/odessa-musicapp-medievaltomodern\/chapter\/program-music-and-the-program-symphony\/","title":{"raw":"Program Music and the Program Symphony","rendered":"Program Music and the Program Symphony"},"content":{"raw":"

Program Music<\/h2>\r\nProgram music<\/strong>\u00a0or\u00a0programme music <\/strong>(British English)\u00a0is music that attempts to depict in music an extra-musical scene or narrative. The narrative itself might be offered to the audience in the form of\u00a0program notes inviting imaginative correlations with the music. A well-known example is\u00a0Hector Berlioz's\u00a0Symphonie fantastique<\/em>, which relates a drug-induced series of morbid fantasies concerning the unrequited love of a sensitive poet involving murder, execution, and the torments of Hell. The genre culminates in the symphonic works of\u00a0Richard Strauss\u00a0that include narrations of the adventures of\u00a0Don Quixote<\/em>,\u00a0Till Eulenspiegel<\/em>, the composer's domestic life, and an interpretation of\u00a0Nietzsche's philosophy of the\u00a0Superman. Following Strauss, the genre declined and new works with explicitly narrative content are rare. Nevertheless the genre continues to exert an influence on film music, especially where this draws upon the techniques of late romantic music.\r\n\r\nThe term is almost exclusively applied to works in the\u00a0European classical music\u00a0tradition, particularly those from the\u00a0Romantic music\u00a0period of the 19th century, during which the concept was popular, but programmatic pieces have long been a part of music. The term is usually reserved for purely instrumental works (pieces without singers and lyrics), and not used, for example for\u00a0Opera\u00a0or\u00a0Lieder. Single movement orchestral pieces of program music are often called symphonic poems.\r\n\r\nAbsolute music, in contrast, is to be appreciated without any particular reference to anything outside the music itself.\r\n

Program Symphony<\/h2>\r\nAny instrumental genre could be composed in such a way as to tell a story or paint a picture in the mind\u2019s eye of the listener. A program symphony is the result of a composer applying the principle of program music to the genre of the symphony. A program symphony, like any other work of that genre, would consist of multiple movements, usually four or five, and would likely follow to some extent the standard characteristics of symphonic construction. For example, the second movement would likely be slower than the first, and the third movement would be based on a dance. The fifth movement would serve as a kind of grand finale. Traditional forms would be of less concern to a composer of programmatic music, as the form of a movement would likely be influenced by the subject matter being depicted. Hector Berlioz\u2019s Symphony Fantastique <\/em>is one of the best-known examples of a program symphony.\r\n\r\n ","rendered":"

Program Music<\/h2>\n

Program music<\/strong>\u00a0or\u00a0programme music <\/strong>(British English)\u00a0is music that attempts to depict in music an extra-musical scene or narrative. The narrative itself might be offered to the audience in the form of\u00a0program notes inviting imaginative correlations with the music. A well-known example is\u00a0Hector Berlioz’s\u00a0Symphonie fantastique<\/em>, which relates a drug-induced series of morbid fantasies concerning the unrequited love of a sensitive poet involving murder, execution, and the torments of Hell. The genre culminates in the symphonic works of\u00a0Richard Strauss\u00a0that include narrations of the adventures of\u00a0Don Quixote<\/em>,\u00a0Till Eulenspiegel<\/em>, the composer’s domestic life, and an interpretation of\u00a0Nietzsche’s philosophy of the\u00a0Superman. Following Strauss, the genre declined and new works with explicitly narrative content are rare. Nevertheless the genre continues to exert an influence on film music, especially where this draws upon the techniques of late romantic music.<\/p>\n

The term is almost exclusively applied to works in the\u00a0European classical music\u00a0tradition, particularly those from the\u00a0Romantic music\u00a0period of the 19th century, during which the concept was popular, but programmatic pieces have long been a part of music. The term is usually reserved for purely instrumental works (pieces without singers and lyrics), and not used, for example for\u00a0Opera\u00a0or\u00a0Lieder. Single movement orchestral pieces of program music are often called symphonic poems.<\/p>\n

Absolute music, in contrast, is to be appreciated without any particular reference to anything outside the music itself.<\/p>\n

Program Symphony<\/h2>\n

Any instrumental genre could be composed in such a way as to tell a story or paint a picture in the mind\u2019s eye of the listener. A program symphony is the result of a composer applying the principle of program music to the genre of the symphony. A program symphony, like any other work of that genre, would consist of multiple movements, usually four or five, and would likely follow to some extent the standard characteristics of symphonic construction. For example, the second movement would likely be slower than the first, and the third movement would be based on a dance. The fifth movement would serve as a kind of grand finale. Traditional forms would be of less concern to a composer of programmatic music, as the form of a movement would likely be influenced by the subject matter being depicted. Hector Berlioz\u2019s Symphony Fantastique <\/em>is one of the best-known examples of a program symphony.<\/p>\n

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