Reading: Music after Beethoven: Romanticism and The Early Romantics Flashcards Preview

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Flashcards in Reading: Music after Beethoven: Romanticism and The Early Romantics Deck (28)
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1
Q

The Romantic period was a period where there was strict adherence to musical rules. True or false?

A

False.

2
Q

What was a downside to the institutionalization of concert life?

A

The public tended to be more conservative than the old aristocrats.

3
Q

What was the main artistic value in the Romantic era?

A

The integrity of personal feeling.

4
Q

Romantic Melody

A

More emotional, effusive, and demonstrative.

5
Q

Romantic Harmony

A

Learned to use harmony to underpin melody in such a way as to bring out its emotionality. Chromaticism.

6
Q

Chromaticism

A

A musical style employing all or many of the twelve notes of the chromatic scale much of the time.

7
Q

Rubato

A

“Robbed” time; the free treatment of meter in performance.

8
Q

Tempo Rubato

A

Robbed time – some time has been stolen from the beat.

9
Q

How did musicians of the Romantic era improvise?

A

They did not make up notes, but they played with rhythm.

10
Q

What was new with instruments in the Romantic era?

A

Technological improvements, new combinations of instruments. Conductors came to the fore.

11
Q

Program Music

A

A piece of instrumental music associated with a story or other extramusical idea.

12
Q

Was program music new to the Romantic era?

A

No, but the Romantic era contributed to its new importance and prestige.

13
Q

What are the two types of program music?

A
  1. Music that tells a story, with the story being the program.
  2. Captures the general flavour of a mood associated with some extramusical state, concept, or personality.
14
Q

Why is program music contradictory?

A

On one hand, Romantics considered purely instrumental music as the highest form of art, but on the other, program music was embraced.

15
Q

What was the struggle with form in the Romantics?

A

They tried to break existing moulds, but still had to avoid real formlessness in order to gold the attention of an audience.

16
Q

Miniature

A

A short, evocative composition for piano or for piano and voice, composed in the Romantic period.

17
Q

Did compositions get shorter in the Romantic period?

A

Not necessarily. There were grandiose compositions that got significantly longer.

18
Q

Thematic Unity

A

Increasing tendency in the Romantic to maintain some of the same thematic material throughout whole works, even (or especially) when these works were in many movements.

19
Q

Thematic Transformation

A

A variation-like procedure applied to short themes in the various sections of Romantic symphonic poems and other works.

20
Q

What were the two main influences for early Romantic composers?

A

Beethoven and literary Romanticism.

21
Q

Lied

A

German for “song”; a special genre of Romantic songs with piano.

22
Q

Describe the lied’s accompaniment:

A

Nearly always accompanied by piano alone, and accompaniment contributes significantly to the artistic effect.

23
Q

Describe the text of a lied:

A

Usually a Romantic poem of some merit.

24
Q

Describe the mood of a lied:

A

Intimacy of expression that is captured by these pieces. Singer and pianist share emotional insight with just you.

25
Q

The text in Erlking is by ___.

A

Goethe.

26
Q

Through-Composed Song

A

A song with new music for each stanza of the poem; as opposed to strophic song.

27
Q

Strophic

A

A song in several stanzas, with the same music sung for each stanzas as opposed to through-composed song.

28
Q

Song Cycle

A

A group of songs connected by a general idea or story, and sometimes also by musical unifying devices.

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