{"id":1354,"date":"2017-03-24T03:28:31","date_gmt":"2017-03-24T03:28:31","guid":{"rendered":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/?post_type=chapter&p=1354"},"modified":"2021-11-01T15:55:35","modified_gmt":"2021-11-01T15:55:35","slug":"romantic-period-explored","status":"web-only","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/chapter\/romantic-period-explored\/","title":{"raw":"Romantic Period Explored","rendered":"Romantic Period Explored"},"content":{"raw":"The\u00a0<\/strong>Romantic Period\u00a0<\/b>\u00a0relates to \u00a0the European artistic and literary movement that arose in the second half of the 18th century, and Romantic music in particular dominated the Romantic movement in Germany. \u00a0The Romantic movement was strengthened as a result of the Industrial Revolution. In part, it was a revolt against social and political norms of the\u00a0Age of Enlightenment and a reaction against the scientific rationalization of nature.\r\n\r\nTrends of the 19th century\r\n<\/span><\/strong>Events and changes that happen in society always affect music. In the 19th century \u00a0the rise of the middle class had such an effect. on music.\u00a0\r\n<\/strong>Classical composers<\/span> lived on the patronage of the aristocracy; their audience was generally small, upper-class, and knowledgeable about music. However the Romantic composer<\/span> \u00a0was often writing for public concerts and festivals, with large audiences of paying customers. In fact, the nineteenth century saw the first \"pop star\" type stage personalities. Examples\u00a0 are performers like Paganini and Liszt. \u00a0 Composers of the Romantic Era, like Elgar, showed the world that there should be \"no segregation of musical tastes\"\u00a0and that the \"purpose was to write music that was to be heard.\"\r\n\r\nClassical Roots -<\/strong>\u00a0 \u00a0Classical period \u00a0composers were determined to get away from what they considered the highly developed forms and textures, and styles of the Baroque. However, \u00a0the composers of the Romantic era did not reject traits of the preceding \u00a0Classical period. In fact, they were consciously emulating the composers they considered to be the great classicists: Haydn, Mozart, and particularly Beethoven. Symphonies, concertos, sonatas, and operas are\u00a0 forms that were all popular with classical composers - were also popular with the Romantics. They \u00a0kept the basic rules for the performance practices \u00a0established during (or before) the Classical period.\r\n\r\n
Difference between Romantic and Classical<\/strong> music\r\nThe <\/span>main difference between Classical and Romantic music came from attitudes towards structure. Classical composers were primarily interested in following a logical structure. \u00a0In the nineteenth century, composers began to explore, test, expand \u00a0and extended these \u00a0boundaries as the they began to wander much further afield than a Classical composer. \u00a0 Harmonies could be more dissonant and lead to \u00a0more frequent and distant modulations before returning to the tonic, for example. One could divide the main part of the Romantic era into two schools of composers. One \u00a0took a more conservative approach. Their music though clearly Romantic in style and feeling, does not \u00a0stray too far from the Classical rules. Schubert, Schumann, Mendelssohn and Brahms are in this category. The other school who \u00a0felt more comfortable with pushing the boundaries were \u00a0Berlioz, Strauss, and Wagner \u00a0among others - all of whom were \u00a0progressives whose music challenged the audiences of their day.<\/span>\r\n<\/strong><\/section>
\r\nRomantic Music as an Idea - The Enlightenment<\/strong><\/section><\/section>
Music was \u00a0deeply personal in the romantic period.\u00a0 Sufferings and triumphs of the composer could be reflected in music at a time which placed a higher value on emotion than conforming \u00a0to classical traditions. Romantic music was not just happy or sad; it could represent more extreme feelings such \u00a0being wildly joyous, terrified, despairing, or deeply longings. We know the music of the Classical period \u00a0reflected the attitudes of the educated and the aristocratic of the \"Enlightenment\" era. Classical music had emotions also \u00a0but they stayed \u00a0within acceptable boundaries. \u00a0In other disciplines such as science and industry breaking boundaries was acceptable.\r\n

\u00a0Two categories\u00a0 of Romantic Music: Program \u00a0vs Abstract\r\nProgram music<\/strong> \u00a0tells a story or describes a scene. Richard Strauss's tone poems are perhaps the best-known works in this category, but program music has remained popular with many composers through the twentieth century. Unlike the abstract universal music<\/strong> of the Classical composers, Romantic-era program music tried to use music to describe or evoke specific ideas. Classical rules became less important. The form of the music was chosen to fit with the program (the story or idea). \u00a0If it was necessary at some point to choose sticking more closely to the form or to the program, the program usually won. Post-Romantic composers felt even freer to experiment and break the established rules for form, melody, and harmony. Many modern composers have, in fact, gone so far that the average listener again finds it difficult to follow. Romantic-style music however still finds a wide audience.\u00a0 Romantic Music still finds a wide audience with its emphasis on emotions and\u00a0 breaking musiscal \"rules\" .<\/p>\r\n\r\n<\/section>","rendered":"

The\u00a0<\/strong>Romantic Period\u00a0<\/b>\u00a0relates to \u00a0the European artistic and literary movement that arose in the second half of the 18th century, and Romantic music in particular dominated the Romantic movement in Germany. \u00a0The Romantic movement was strengthened as a result of the Industrial Revolution. In part, it was a revolt against social and political norms of the\u00a0Age of Enlightenment and a reaction against the scientific rationalization of nature.<\/p>\n

Trends of the 19th century
\n<\/span><\/strong>Events and changes that happen in society always affect music. In the 19th century \u00a0the rise of the middle class had such an effect. on music.\u00a0
\n<\/strong>Classical composers<\/span> lived on the patronage of the aristocracy; their audience was generally small, upper-class, and knowledgeable about music. However the Romantic composer<\/span> \u00a0was often writing for public concerts and festivals, with large audiences of paying customers. In fact, the nineteenth century saw the first “pop star” type stage personalities. Examples\u00a0 are performers like Paganini and Liszt. \u00a0 Composers of the Romantic Era, like Elgar, showed the world that there should be “no segregation of musical tastes”\u00a0and that the “purpose was to write music that was to be heard.”<\/p>\n

Classical Roots –<\/strong>\u00a0 \u00a0Classical period \u00a0composers were determined to get away from what they considered the highly developed forms and textures, and styles of the Baroque. However, \u00a0the composers of the Romantic era did not reject traits of the preceding \u00a0Classical period. In fact, they were consciously emulating the composers they considered to be the great classicists: Haydn, Mozart, and particularly Beethoven. Symphonies, concertos, sonatas, and operas are\u00a0 forms that were all popular with classical composers – were also popular with the Romantics. They \u00a0kept the basic rules for the performance practices \u00a0established during (or before) the Classical period.<\/p>\n

\n
Difference between Romantic and Classical<\/strong> music
\nThe <\/span>main difference between Classical and Romantic music came from attitudes towards structure. Classical composers were primarily interested in following a logical structure. \u00a0In the nineteenth century, composers began to explore, test, expand \u00a0and extended these \u00a0boundaries as the they began to wander much further afield than a Classical composer. \u00a0 Harmonies could be more dissonant and lead to \u00a0more frequent and distant modulations before returning to the tonic, for example. One could divide the main part of the Romantic era into two schools of composers. One \u00a0took a more conservative approach. Their music though clearly Romantic in style and feeling, does not \u00a0stray too far from the Classical rules. Schubert, Schumann, Mendelssohn and Brahms are in this category. The other school who \u00a0felt more comfortable with pushing the boundaries were \u00a0Berlioz, Strauss, and Wagner \u00a0among others – all of whom were \u00a0progressives whose music challenged the audiences of their day.<\/span>
\n<\/strong><\/section>\n

\nRomantic Music as an Idea – The Enlightenment<\/strong><\/section>\n<\/section>\n
Music was \u00a0deeply personal in the romantic period.\u00a0 Sufferings and triumphs of the composer could be reflected in music at a time which placed a higher value on emotion than conforming \u00a0to classical traditions. Romantic music was not just happy or sad; it could represent more extreme feelings such \u00a0being wildly joyous, terrified, despairing, or deeply longings. We know the music of the Classical period \u00a0reflected the attitudes of the educated and the aristocratic of the “Enlightenment” era. Classical music had emotions also \u00a0but they stayed \u00a0within acceptable boundaries. \u00a0In other disciplines such as science and industry breaking boundaries was acceptable.<\/p>\n

\u00a0Two categories\u00a0 of Romantic Music: Program \u00a0vs Abstract
\nProgram music<\/strong> \u00a0tells a story or describes a scene. Richard Strauss’s tone poems are perhaps the best-known works in this category, but program music has remained popular with many composers through the twentieth century. Unlike the abstract universal music<\/strong> of the Classical composers, Romantic-era program music tried to use music to describe or evoke specific ideas. Classical rules became less important. The form of the music was chosen to fit with the program (the story or idea). \u00a0If it was necessary at some point to choose sticking more closely to the form or to the program, the program usually won. Post-Romantic composers felt even freer to experiment and break the established rules for form, melody, and harmony. Many modern composers have, in fact, gone so far that the average listener again finds it difficult to follow. Romantic-style music however still finds a wide audience.\u00a0 Romantic Music still finds a wide audience with its emphasis on emotions and\u00a0 breaking musiscal “rules” .<\/p>\n<\/section>\n","protected":false},"author":2162,"menu_order":1,"template":"","meta":{"_candela_citation":"[]","CANDELA_OUTCOMES_GUID":"","pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-1354","chapter","type-chapter","status-web-only","hentry"],"part":1353,"_links":{"self":[{"href":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-json\/pressbooks\/v2\/chapters\/1354","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-json\/wp\/v2\/users\/2162"}],"version-history":[{"count":25,"href":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-json\/pressbooks\/v2\/chapters\/1354\/revisions"}],"predecessor-version":[{"id":2989,"href":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-json\/pressbooks\/v2\/chapters\/1354\/revisions\/2989"}],"part":[{"href":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-json\/pressbooks\/v2\/parts\/1353"}],"metadata":[{"href":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-json\/pressbooks\/v2\/chapters\/1354\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-json\/wp\/v2\/media?parent=1354"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-json\/pressbooks\/v2\/chapter-type?post=1354"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-json\/wp\/v2\/contributor?post=1354"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-json\/wp\/v2\/license?post=1354"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}