Week10-2 - Week 10 Music and Nation in the 19th Century...

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Absolute Forms: The Symphony and the Concerto Week 10: Music and Nation in the 19 th Century Lecture 25: Wednesday, October 27 Now listening: Brahms, Symphony No. 3 in F Major, Op. 90 III. Poco allegretto
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Convent Garden Theater, London
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Convent Garden Theater, London
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Convent Garden Theater, London
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Romantic content + Classic genres and form Composers blended elements of Romanticism into Classic frameworks from the 18 th century A classical repertory was established New music won wide popularity and became classics in their own right Schubert Berlioz Mendelssohn Schumann Others
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Romantic content + Classic genres and form Content Genres and form
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Let me refresh your memory (slides from last lectures)
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CLASSICAL AND ROMANTIC INSTRUMENTAL GENRES Symphony, solo concerto, solo sonata, string quartet Solo piano; added one-movement symphonic poem VOCAL GENRES Opera, Mass, solo song Added works for solo voice and piano/ orchestra AUDIENCE Aristocrats Middle-class PERFORMING FORCES String orchestra with some brass and woodwinds; 30-to-40 member orchestra; rise of piano to prominence Piano predominant as solo instrument; new instruments in larger instruments Genres
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Musical Language FROM CLASSICAL TO ROMANTIC Classical style is restrained Romantic music is exuberant Classical music values balance and grace Romantic music stresses drama, confict, and strong emotions Invention Expansion Revolution Experimentation
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The Spirit of Romanticism Imagination Nature Symbolism and Myth Emotion, Lyric Poetry, and the Self Contrasts With 18 th Classicism Individualism: The Romantic Hero The Everyday and the Exotic The Romantic Artist in Society Spread of the Romantic Spirit International artistic and philosophical movement that redeFned the fundamental ways in which people in Western cultures thought about themselves and about their world
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Romantic content + Classic genres and form Content Genres and form WORK IN PAIRS: COMPLETE BOTH TABLES AND REPORT TO THE CLASS
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Form is the most important organizing element in absolute music , which has no specifc pictorial or literary program
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“Absolute Music” Orchestral program music fnds proponents throughout Europe Others reject it as a Fraud and a corruption oF the potential oF music; Robert Schumann, becomes one oF the most passionate advocates oF absolute music , tradition oF “classical masters” Haydn and Mozart, as expanded by the genius Beethoven While “program music” connects to a visual or narrative image, “absolute music” draws meaning From sound alone
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Week10-2 - Week 10 Music and Nation in the 19th Century...

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