Chapter_22_6e

Chapter_22_6e - Chapter 22: Introduction to Chapter 22:...

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Unformatted text preview: Chapter 22: Introduction to Chapter 22: Introduction to Romanticism • Comparison of Classic and Romantic Aesthetic Classic • Reason • Rules and forms • The monuments of ancient Greece and Rome Romantic • Emotionalism • Passionate self­expression • Wonders of nature Love Sentiment pervaded the entire era Longing and despair, not happiness and fulfillment Music expresses the inarticulate depth of emotion Role of the Composer No longer servants to aristocracy Now a prophet or demigod Inspires the audience Music morally uplifting and beautiful Music no longer entertainment, but art Serious tone in the concert hall Melody Broad, sweeping themes Lyrical and expressive Build to a grandiose climax Phrases Longer Rhythmically flexible Irregular in shape Harmony Colorful harmony contributes to emotional intensity Chromatic notes Add color Make distant modulations easier Very different key signatures A more striking sound Dissonance creates greater anguish and drive to resolution Harmony Bold harmonic shifts Harmony Chromatic harmony Harmony Prolonged dissonance Rhythm Flexible and languid Meter can be obscure Rubato Italian for “robbed” Exaggerates the rhythmic flow Gives performers more artistic freedom Form No new forms Extended existing forms Character piece Brief binary or ternary form Essence of a single mood Whimsical titles The Romantic Orchestra Ensemble increased in size to 100 musicians The Conductor Larger ensemble required someone to coordinate the effort Position evolved from time­beater into interpreter Romantic Orchestra The Romantic Orchestra Woodwinds New fingering mechanisms Silver flute replaced the wood flute Piccolo, English horn, and contrabassoon frequently included The Romantic Orchestra Brasses Full brass section French horn Addition of valves Especially favored for its rich dark tone Associated with nature and the hunt Percussion a standard feature The Virtuoso Pianists and violinists the most common Wizard­like dexterity Often more showmanship than musical substance Niccolò Paganini (1782­1840) Niccolò Paganini ...
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This note was uploaded on 01/10/2012 for the course MUS 1751 taught by Professor Harris during the Summer '08 term at LSU.

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