Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Music in the Romantic Period
Similarities of classical and romantic music
Music in the Romantic Period
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Music in the Romantic Period
Peter IIyich Tchaikovsky was a prominent Russian composer during the Romantic period. Romanticism was a “cultural movement that stressed emotion, imagination, and individuality” (208). Tchaikovsky was born on May 7, 1840 in Vyatka, Russia. To honor his parent’s wishes, Tchaikovsky held a position as a “bureau clerk post with the Ministry of Justice.” (Greenberg). His love for music began to flourish. Once he graduated from the “St. Petersburg Conservatory, he became professor of harmony at the new Moscow Conservatory” (248). During that time, he had written an opera, tone poem, and “his first great orchestral work, Romeo and Juliet” (248). Tchaikovsly’s music style was influenced by French, Italian, and German music as well as Russian folksong” …show more content…
Compared to music during the Classical Period, which had strict laws when it came to balance, music in the Romantic Period allows more freedom and is more expressive. The original composition utilized instruments from the woodwinds, brass, and strings group. Those instruments included the flute, bass clarinet, oboe, bassoon, horn, and the introduction of the celeste. The celeste was similar to the piano, but it created bell like sounds. The tone color of the piece creates a warm soothing feeling, similar to something you would hear in a lullaby. Also, the piece is played using chromatic melody lines. During the opening of the song, the strings are plucked gently, and then the other instruments join in. I think the instrument that joins after the strings plucking is the celeste. There were many crescendos and decrescendos heard throughout. At the beginning it was soft and gradually became louder, then softer, loud again, and then softly to the end. In addition, the piece is played in ternary form …show more content…
His interest in music began at a young age, and by the time he was in high school, Zietler had built his own harpsichord and “attended the California Institute of Arts” (). There, he earned a degree in harpsichord, and become a professional musician since. As one of the “few professional players in the world” on the glass harmonica, Zietler performed many times internationally, including the Kennedy Center in Washington, DC on November of 2011(). Interestingly, his pieces have been featured in movies such as Taking Chance, Big Hero 6, and Beautiful
Modeste Petrovich Mussorgsky’s (1839-1881) Songs and Dances of Death was his final composition, composed in 1877, in years of artistic confidence that followed the success of his masterpiece, the opera Boris Godunov. Boris Godunov encapsulates many of Mussorgsky’s innovations including those towards his approach to the setting of the Russian language: his biographer, Robert W. Oldani observes, Mussorgsky’s “quest to find a musical equivalent for the patterns, inflections, pace and cadence of spoken Russian, to fix in music the paralexical aspects of speech that give it plasticity and nuance.” Indeed, Mussorgsky was one of a group of Russian composers known as the "Mighty Five,"- so dubbed by the influential contemporaneous critic V. V. Stasov.
In the second movement have a brief violin solo songs with the latter half of the elements (Schwartz, 2015). Faster featuring piano part as follows, gradually building, until near the end, in a piece of this point seems to pull back to the original melody, now given to the flute. In a peaceful, introspective rhythmic movement ended.
For almost half a century, the musical world was defined by order and esteemed the form of music more highly than the emotion that lay behind it. However, at the turn of the 19th century, romantic music began to rise in popularity. Lasting nearly a century, romantic music rejected the ideas of the classical era and instead encouraged composers to embrace the idea of emotionally driven music. Music was centered around extreme emotions and fantastical stories that rejected the idea of reason. This was the world that Clara Wieck (who would later marry the famous composer, Robert Schumann) was born into. Most well known for being a famous concert pianist, and secondly for being a romantic composer, Clara intimately knew the workings of romantic music which would not only influence Clara but would later become influenced by her progressive compositions and performances, as asserted by Bertita Harding, author of Concerto: The Glowing Story of Clara Schumann (Harding, 14). Clara’s musical career is an excellent example of how romantic music changed from virtuosic pieces composed to inspire awe at a performer’s talent, to more serious and nuanced pieces of music that valued the emotion of the listener above all else.
Schwartz, Boris. Music and Musical Life in Soviet Russia, 1917-1981. 2nd edition. Indiana University Press, 1983.
The piano plays the main themes, and it was absent from playing before. The piano plays two octaves in the treble register. There is a viola in the background playing a counter melody, which slows towards
Throughout this piece there was stop time breaks which tended to last for about four beats, while the bass player continued to play along to the beat. Every musician had a solo throughout this piece of art. The pianist played on the beat to where his left hand was giving the ‘oom-pah’ and his right hand doing the comping. There was not much of and expression in the pianist compared to the Josh Holland playing trumpet, Andrew Venet playing bass, and Ryan McDaniel playing drums. There were no blue notes being played, this song was just playing behind the beat. Lastly, this piece tends to have a long vibrato throughout this piece of work.
This piano concerto adheres to the tradition way of composing a piece in this genre as it consists of three movements:
...re the flute returns accompanied by a string sequence. The tonality alternates between major and minor continually. The strings play an arpeggio melody, in major, as the oboe plays a descending chromatic scale with a diminuendo and perfect cadence
The term romantic first appeared at sometime during the latter half of the 18th Century, meaning in quite literal English, "romance-like", usually referring to the character of mythical medieval romances. The first significant jump was in literature, where writing became far more reliant on imagination and the freedom of thought and expression, in around 1750. Subsequent movements then began to follow in Music and Art, where the same kind of imagination and expression began to appear. In this essay I shall be discussing the effect that this movement had on music, the way it developed, and the impact that it had on the future development of western music.
The piano has stopped and now the synthetic orchestra begins to play, mostly with strings and percussion. The song is composed in the key B minor and follows the same four chords throughout the entire duration. The song never strays away from these same four chords, keeping the rhythm calm throughout the whole song. 0:33 - The piano joins back in, playing a beat every 4 seconds and Lana’s dreamy vocals range from D3 to A4.
The brass plays an ascending sequence, followed by pizzicato notes played by the strings, and an ascending and descending scale on the harp. Strings and oboe play the rhythmic melody, whilst the trumpet plays fanfares in syncopation. The oboe is then replaced by the flute. There is an ascending scale played by the strings, then the brass section repeats the string and oboe melody with cymbal crashes at cadence points. The orchestra then plays a loud melody with cymbal crashes and drum rolls. There is an interrupted cadence, followed by crescendo with cymbal crashes and a brass ostinato. The piece ends with a perfect cadence.
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.
The characteristics of romantic music are influenced by the Romantic Movement, where the arts of literature and painting play a great role in influencing romantic music. Other evidence of non-musical influences in romantic music is the popularity of romantic poetry during that era. Poems, opera arias and works form great romantic poets are transformed into instrumental works and composers like Schubert uses musical elements such as melodies inspired by poetry in his works (http://absoluteastronomy.com). The musical language itself has shown that romantic music is different from the rest of the music before its time. Extended tonal and harmonic elements are noticed in romantic music compared to those in the classical era, where chromaticism, the usage of dissonance, and modulations are used extensively.
... then plays allegro passages of semi quavers, accompanied by timpani and descending scales in the woodwind. The clarinet, takes over the main melody whilst the cello accompanies with sequences. The French horn takes over the melody, accompanied by the strings. The flute briefly plays the melody before the cello plays octaves, accompanying the woodwind as they play a reprise of the DSCH theme and the timpani crashes. Repeating the themes in the first movement, the cello plays the DSCH motif followed by the "tate ta, tate ta" rhythm in the strings. The horn then plays the theme in augmentation, whilst the cello plays passages of ascending and descending scales, and the theme is heard again in the strings. The movement builds up with the motif appearing increasingly often in the woodwind and strings and climaxes with octaves by the soloist and a boom from the timpani.
Peter Ilyich Tchaikovsky, also spelled Pyotr Ilyich Tchaikovsky, was born in Votkinsk, in the city of Vyatka, Russia, May 7, 1840. Second in a family of five sons and one daughter, to whom he was extremely devoted. Once in his early teens when he was in school at St. Petersburg and his mother started to drive to another city, he had to be held back while she got into the carriage, and the moment he was free ran and tried to hold the wheels.