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The Second Half of the Nineteenth Century The Second Half of the Nineteenth Century

The Second Half of the Nineteenth Century - PowerPoint Presentation

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The Second Half of the Nineteenth Century - PPT Presentation

The New German School Progressive ideas and styles after 1850 The music of the future a teleological view of the composers role in music history Freedom from convention harmonic exploration ID: 330440

song music symphony century music song century symphony opera composers late styles nineteenth romantic wagner musical east 1860

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Slide1

The Second Half of the Nineteenth CenturySlide2

The New German School

Progressive

ideas and styles after 1850

“The

music of the future”

a teleological view of the composer’s role in music history

Freedom

from convention

harmonic exploration

unconventional form

programmaticism

Composers

Liszt, Berlioz (by adoption), WagnerSlide3

Wagner’s music dramas

— theories and style

The Artwork of the Future

Gesamtkunstwerk

combines multiple art forms in

multimedia

“counterpoint”

Based

in folklore and mythology

represents values of the culture

Libretto

built on Germanic tradition

Stabreim

Symphonic

treatment of

themes (leitmotiv)

free motion of harmony

developmental textureSlide4

After Wagner

— representative late Romantic composers and genres

Vienna

Johannes Brahms (

1833–1896

)

symphony, chamber music, song

Anton Bruckner (

1824–1896

)

symphony, sacred music

France

Charles

Gounod (

1818–1893

)

lyric opera

César Franck (

1822–1890

)

symphony, organ music, chamber music

Italian opera

VerdiSlide5

After Wagner

— post–Romantic

composers and genres

Hugo Wolf (

1860–1903

)

song specialist

Gustav Mahler (

1860–1911

)

song, symphony,

vocal-orchestral

cycle

Richard Strauss (

1864–1949

)

tone poem, opera, songSlide6

Post–romantic

opera

realism and verismo

Characteristics

plots set among

oppressed-class

characters

violent endings

powerful, intense scorings

extreme demands on voice

Some

representative works

Georges Bizet,

Carmen

(

1873–1874

)

Pietro Mascagni,

Cavalleria rusticana

(1890)

Ruggero Leoncavallo,

I pagliacci

(1892)

Giacomo Puccini,

Il tabarro

from

Il trittico

(1918)Slide7

Exoticism

Attempt

to reinvigorate music in the context of

fin-de-siècle

Europe

Draws

on style features from distant

music cultures —

e.g.,

Eastern Europe

Gypsy culture

the Middle East

East Asia

Spain

the Americas

Problems

of

orientalism

colonial appropriation

misrepresentation

of “other” musiculturesSlide8

Late

nineteenth–century nationalism

Patriotic

expression by composers from suppressed cultures on the European periphery

Bohemia

Russia

Scandinavia

Spain

the Americas

National

materials

literary and folkloric sources

folk tunes or

folk melody

styles

dance rhythms

harmonic colorations

modal scalesSlide9

Questions for discussion

Wagner’s musical theories and works generated

wide-ranging

interest outside strictly musical circles. How can we explain this phenomenon?

How did musical developments in France and Italy after 1850 reflect special situations and/or characteristic interests of those countries?

How did the rise of national styles in the late nineteenth century resemble or differ from the rise of nationally distinct styles in the sixteenth and eighteenth centuries?

Would it be appropriate to refer to some developments in music of the late nineteenth century as mannerist? Why or why not?