Reclaiming Late-Romantic Music

2014 ◽  
Author(s):  
Peter Franklin
Keyword(s):  
Romantic Music

scholarly journals Komposisi Musik Ilustrasi Pada Kelompok Teater Kembang SMA N 1 BREBES

2020 ◽  
Vol 9 (2) ◽  
pp. 99-108
Author(s):  
Anik Prabowo ◽  
Udi Utomo ◽  
Syahrul Syah Sinaga
Keyword(s):  
Data Collection ◽  
Data Reduction ◽  
Music Composition ◽  
Qualitative Method ◽  
Accurate Data ◽  
Data Presentation ◽  
Romantic Music ◽  
Collection Data ◽  
Performing Art

Theater is a performing art which in its performance brings a story that is delivered through acting on the stage. Theater performance is inseparable from music as supporting atmosphere. Based on that, this research aims to know the types of illustration music composition in “Kembang” Theater group from SMA N 1 Brebes. This study used qualitative method. To obtain the accurate data, this study used observation, interview, and documentation. This research consists of data collection, data reduction, data presentation, and conclusion. The result shows that “Kembang” Theater always makes music composition that is suitable with the theme of the script on their performances. Illustrated music is always played live on stage with consideration of getting maximum results in every scene played. There are various types of illustration music composition in “Kembang” Theater group. They are opening music, happy music, wistful music, tense music, horror music, romantic music, comical music, sampakan music/convey music, transition music, and closing music. The types of script are divided into two types. There are tragedy script and comedy script. Not all types of Illustration music composition exists in all types of script. For example, sampakan music and comical music that only exist in comedy script.                                                                       

scholarly journals Agogiikka ja rekisteröiminen esittäjän keinovaroina saksalaisessa urkumusiikissa

Trio ◽  
2021 ◽  
Vol 10 (1) ◽  
pp. 86-90
Author(s):  
Olli Pyylampi
Keyword(s):  
19Th Century ◽  
Organ Music ◽  
Doctoral Studies ◽  
Romantic Music ◽  
The Subject ◽  
The 19Th Century

The subject of my doctoral studies is the use of agogics in German organ music between the 17th and the 19th century. The repertoire of my five concerts proceeded chronologically in order to demonstrate the evolution of agogics. In my written thesis, I investigate my methods of choosing stops when performing German romantic music.

Romantic Style in American Music and Its Place in Courses of Disciplines of Universities of Culture and Art

2020 ◽  
Vol 19 (4) ◽  
pp. 220-227
Author(s):  
M.G. Kruglova ◽  
Keyword(s):  
19Th Century ◽  
American Music ◽  
American Composers ◽  
Musical Thinking ◽  
Romantic Music ◽  
The Usa ◽  
Creative Experience ◽  
Characteristic Features ◽  
The 19Th Century ◽  
Professional Disciplines

in the development of American music of the 19th century, researchers find stylistic trends in romanticism. During this period, the characteristic features of national musical thinking and the features of the composer’s work of US composers manifest themselves. A similar thing was observed in European music of the same century: the Polish national composer school was formed in Chopin’s works, Liszt embodied the features of Hungarian music, Grieg – Norwegian, etc. Since the beginning of the 19th century, American composers have been passionate about European romantic trends, but at the same time they have gone and developed along their special path. The influence of Schubert, Schumann, Mendelssohn is felt in the works of American composers of the mid-19th century, in the literature of the USA romanticism manifested itself much earlier, and its development was peculiar and special due to the ethnic and historical development of the country. However, all these most important historical pages still remain almost without the attention of scholars, researchers, and are also absent from the courses of music history not only colleges, but also universities of art culture. In this work, an attempt is made to outline ways to master the artistic and creative experience of composers of the USA of the 19th century in the process of studying professional disciplines by students of universities of culture and art and at the same time enriching the scientific experience of musicology with new discoveries in the field of American romantic music.

Dante’s Models in Romantic Music

2021 ◽  
pp. 70-81
Author(s):  
K.V. Zenkin
Keyword(s):  
Divine Comedy ◽  
Musical Language ◽  
Entire System ◽  
Musical Meaning ◽  
Musical Sound ◽  
The World ◽  
Romantic Music ◽  
Interdisciplinary Methodology ◽  
The Given

Dante’s impact on music has been studied completely enough, but so far mainly in an empirical and descriptive way. The article examines the works of romantic composers of the 19th - early 20th centuries, based on the plot of Dante’s “Divine Comedy”: Liszt’s fantasy-sonata “After reading Dante” and the “Dante-Symphony”, the “Francesca da Rimini” by Tchaikovsky (symphonic fantasy) and Rachmaninoff (opera). The author analyses compositional and stylistic models of the romantic music inspired by Dante’s poetry as a system, which is relevant for modern musicology, in particular, for the theories of musical language, style, and musical meaning. Along with the traditional musicological methods of analysis of form and intonational dramaturgy, an interdisciplinary methodology is applied, associated with the coverage of the entire system of musical compositional prototypes as a structuring of meaning. This has a pronounced narrative poetic nature in romantic music. The results of the study demonstrate a system of structural and semantic invariants (secondary, musical models) conditioned by Dante’s figurative world and manifested in melody, harmony, fret organization, composition. The conclusions of the article reveal the roles of Dante’s models of the world in the works considered in the following aspects: in the process of extreme intensification of the contrasts of romantic music in the semantic coordinates of “Hell – Paradise”; “Love – Death”; in the approval of the concept of Liebestod; in the creation of new, extreme expressive possibilities for the given style, which significantly expanded the idea of the boundaries of beauty and caused transformations in musical sound (harmony, texture, melody); in the formation of stable idioms of romantic music from Liszt to Rachmaninov; in the modification of the structures of a one-part sonata, of the cyclic symphony, and of opera, which have received the quality of a vectorial dramaturgical process and open dramaturgy.

‘Stars Caught in My Branches’

2019 ◽  
pp. 283-298
Author(s):  
Michael O'Neill
Keyword(s):  
Matthew Arnold ◽  
Classical Drama ◽  
Romantic Music ◽  
Extreme Sensitivity

Chapter 17 considers Shelley as a predecessor who, paradoxically, taught Swinburne how to go beyond being ‘A sort of pseudo-Shelley’ (Matthew Arnold). Swinburne becomes his own kind of iconoclastic poet by starting from Shelleyan examples. The chapter reveals the intricacy with which Swinburne adapts and inherits Shelley’s poetic thought. It explores Swinburne’s response to Shelley through readings of paired poems across a range of literary kinds: lyric, remodellings of classical drama, elegy, and extended metapoetic rhapsodies-cum-meditations. As Shelley does, Swinburne explores myth while revealing the eternal energies of desire and dread that draws the poet towards it. Reading ‘To a Seamew’ (for example) as a saddened and lyrical reworking of Shelley’s ‘To a Skylark’, this chapter attunes itself to Swinburne’s adaptations and insistent individuating of Shelley’s Romantic music. Again it contends, in relation to the view that Shelley’s work bravely seeks to face up and face down the forces pitted against affirmation, that Swinburne’s Atalanta in Calydon shows extreme sensitivity to this Shelleyan dialectic. Overall the chapter argues that Swinburne’s counter-Shelleyan achievement is to fuse a poem’s becomings with its essential being.

Wagner as a Problem

1998 ◽  
Vol 16 (2) ◽  
pp. 94-130
Author(s):  
Mitchell Cohen
Keyword(s):  
New York ◽  
Richard Wagner ◽  
Yale University ◽  
Princeton University ◽  
Metropolitan Opera ◽  
Anti Semitism ◽  
Tristan Und Isolde ◽  
Romantic Music ◽  
History Of ◽  
Ring Des Nibelungen

Der Fliegende Holländer by Richard Wagner, at the Teatro delle Opera di Roma (April 1997).Der Ring des Nibelungen by Richard Wagner, at the Metropolitan Opera (New York, April-May 1997).Der Ring des Nibelungen by Richard Wagner, at the Festspielhaus (Bayreuth, July-August 1995).Tristan und Isolde by Richard Wagner, at the Festspielhaus (Bayreuth, July 1995).Barry Millington, “Nuremberg Trial: Is there Anti-Semitism in DieMeistersinger?” Cambridge Opera Journal 3 (3 November 1991), pp. 247-260.Cecelia Hopkins Porter, The Rhine as a Musical Metaphor: Cultural Identity in German Romantic Music (Boston: Northeastern University Press, 1996).Frederic Spotts, Bayreuth: A History of the Wagner Festival (New Haven and London: Yale University Press, 1994).Michael Tanner, Wagner (Princeton: Princeton University Press, 1996). Marc A. Weiner, Richard Wagner and the Anti-Semitic Imagination (Lincoln and London: University of Nebraska Press, 1995).

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