Romantic Music Vs Classical Music

977 Words2 Pages

Katherine Gonzalez
Professor Sagebiel
HUM 101
14 December 2015

Final

Music has evolved in too many different forms that we recognize today. We trace this development throughout time. Beginning in the middle ages, we have seen advancement from the Gregorian chant all the way to the Jazz of the 20th century. The current events, politics, religion, technology and composers can shape musical eras during time. Here I will be looking at the Classical through Post-Modern for a better understanding that can be reached to why, when, where and who are the reasons for musical evolution.
The Classical period is between the baroque and romantic periods. This implies music from the Classical …show more content…

There are many differences between romantic and classical music. Romantic works tend to have greater ranges of tone color, dynamics, and pitch. The emotional intensity associated with romanticism was already present in the work of Mozart and particularly in that of Beethoven, who greatly influenced composers after him (Kamien, 211). The composers in the Romantic period were Beethoven, Schubert, Berlioz, Mendelssohn, Robert Schumann, Clara Schumann, Chopin, Liszt, Verdi, Wagner, Bizet, Brahms, Dvorak, Tchaikovsky, Musorgsky, Mahler, Puccini. Their genres were ensemble, program orchestra, sensational suggestion, show suggestion, tone sonnet, musical show, workmanship tune, symphonic melody, solo concerto, character piece for piano, artful dance music. Melody: more adaptable and unpredictable fit as a fiddle than in the Classical period; long, singable lines with intense peaks and chromatic affectations for expressiveness. Harmony: Greater utilization of chromaticism makes the amicability wealthier and more vivid; sudden movements to remote harmonies for expressive purposes; delayed cacophony passes on sentiments of tension and aching. Rhythm: free and loose, sporadically darkening the meter; beat can change extraordinarily (rubato) and some of the time eases back to a slither to take into consideration "the fantastic signal". Color: symphony gets to be tremendous, coming to upward of 100 entertainers: trombone, tuba, contra-bassoon, piccolo, and English horn included; explores different avenues regarding new playing procedures for embellishments; progress shift broadly to make compelling levels of expression; piano gets to be bigger and all the more intense. Texture: prevalently homophonic however thick and rich on account of bigger ensembles and instrumental scores ; managing pedal on the piano additionally adds to thickness. Form: no new structures made; rather, conventional structures (strophic,

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