UnitIIExamStudyGuide

MusicHistoryII

HeyFolks,Samedeal,DONOTaddanyonethatwont
contribute.Wehadthisissuelastsemesterandthere
werepeoplethatgotaddedlastminuteandtheyliterally
sattherewiththecursoroveronewordforhours.We
WILLtakepeopleout.Thanks.Also,ifyouseesomething
youthinkiswrongorincomplete,checkit!Wewantthisto
bethoroughandcorrect.

Thislinkisfortheonlinequizzes:
http://global.oup.com/us/companion.websites/9780195379884/student/ch
apter3/quiz/mc_quiz/

THINGSTOCONSIDER

1.Describeseveralexamplesoforganicconnectioninmultimovementmusicalgenres.
Namespecificworksthatillustratethisprincipleandexplainhowtheorganicunity
occursineachcase.

BeethovensFifth
DemonstratesOrganicismthroughrecurringthemesandmovements
transitioningintoeachother
HESKICKINGTHEGODDAMNDOORDOWN!!!
(Iminthelibrary,keepyour
voicedownplease)
DerFreischutz(Weber)
SimilarlytoBeethoven,Weberweavesthemesthroughouttheworktorepresent
dramaticideas,but,ratherthanmakeanexclamatorystatementlikeBeethoven,
Weberistellingastoryofamansdealwiththedevilinoperaform.
WagnersRingCycle

PrettymucheverythingWagnerwrotewasorganic,butthiswasthemoststudied
pieceofwork.
Theworkclearlyidentifiesentrancesofcertaincharactersanddramaticideas
withcertainthemes(ex.FlightoftheValkyrie)
Notonlydothesethemespresentthemselveswitheachcharacter,theyarealso
recognizableinthefirstmovementa.k.a.theoverturewhereallofthethemesare
presented.
Wagnersmusichadsomenotableinfluence,especiallyintheareasoforchestral
developmentsandchromaticharmony.

2.DiscussthecontributionstoRomanticmusicofthreedifferenthistoricalfigureswho
werenotmusiciansthemselves.(TylerMcMillan?)

WilliamShakespeare
inspiredmanylyricalandtextualelementstooperaandlieds
AlsoimportantbecausetheRomanticerawassomewhatreminiscentof
theRenaissanceera
NapoleonBoneparte
InspiredBeethoventocomposehisSymphonyNo.3Eroica,orHero
whichpresentsavictoriousandtriumphantsoundtoit.Ironically,
BeethovenscribbledoutthededicationtoNapoleonbecauseheinvaded
ViennaatthetimeBeethovenfinishedcomposingthework.

3.ExplainseveraldifferentwaysinwhichthelivesofRomanticcomposersaffected
theircompositions.

Hector Berlioz fell in love with an Irish actress named Harriet Smithson.
In order to get her attention, he wrote a symphony for her, and he called it
Symphonie Fantastique.
Berlioz wrote a specific program to go along with the piece, to tell the story
with words and music. (Program Symphony)
(Camille)GiuseppeVerdihadlostmanywivesandchildren,leadinghimtobe
heartbroken,inwhichthatanguishbleedintohismusic.Oneofhisoperas,LaTraviatashows

hisveryhurtinlosingsomeonedearandloved.(Twopeopleinlove,girlacourtesanandboy
poor.TheycometogetherintheendonlyforhertodieofTB,whichisasexuallytransmitted
disease.)

(Camille)RobertSchumannhadaseverediseaseofschizophrenia.Hehadmultiple
personalitieswhichwouldcomeintoplayinsomeofhiscompositions.(Hisdissociativeidentity
disorderledtohimhavingDavidbund,whichwouldshowinhisworks,suchasmanicor
depressed.HisworkNo.5:Eusebius(depressive)andNo.6:Florestan(manic))thesepieces
includedaduplesimplemeterwrittenlikewhichwasasymmetrical/polymetric/hemiolic,with
noresolution.

4.HowweretheconventionsofClassicmusicalstructuresuitedtoadaptationtothe
characteristicandprogrammaticmusicalstylesofRomanticism?

Classicisminmusicemphasizedobjectivity,clarity,equilibrium,serenity,grace,
elegance,andwitclassicalformswererationalandrestrained.Theprimarygoalwasthe
cultivationofsymmetryandproportionasillustratedinthesonataformwithitsthreesections:
exposition(oftwocontrastingmusicalthemes),development(ofthetwothemes),and
recapitulation(areconciliationofthethemes).Thiswasthemusicaloutlineofthefirst
movementoftheclassicalkeyboardsonata,symphony,stringquartet,trio,andsoon.The
buildingblocksofthesonataformwerefourmeasurephrasesandclearcutharmonicpatterns
endowedwithspecificformalfunctions.Throughoutthelastdecadesoftheeighteenthcentury
sonataformwasoneoftheprimarymeansofmusicalarchitecture,theveryembodimentof
classicalconciseness,order,andlogic.
Themusicalformsoftheearlierpartofthenineteenthcenturyremained,generally
speaking,thoseoftheclassicalperiod.ButtheRomanticcomposerhadaninclinationfor
exaggerationandlackofbalancethatresultedinthereforgingofthesizeofmusicalworks:thus
theabundance,inthefirstthreeorfourdecadesofthecentury,ofminiatureformsbothvocal
andinstrumentaloftenarrangedinsetsorcyclesandsometimesrelatedeitherthrougha
musicaloraliteraryorautobiographicaltheme.Thetasteforminiatureswasalsopromptedby

thefashionofsoires(eveningliteraryandmusicalgatheringsofthearistocracyandbourgeoisie,
ofwhichofmostenduringfameweretheSchubertiads,associatedwiththecomposerFranz
PeterSchubert.MostRomanticcomposerswereadeptatpenningsmallscalepianopiecessuch
asimpromptus,waltzes,nocturnes,barcarolles,arabesques,andtheliketobeplayedinsalons.
Attheotherendofthecompositionalspectrumtherewasthefascinationwiththesublime
andcolossal,whichinturnbroughtabouttheswellingofthesymphonytopreviouslyunheardof
dimensions.Thesheernumberofmeasuresoftheusualfourmovementswasincreasedto
sometimesalmostunbearablelengths:afirststepinthisdirectionwastakenbyBeethoveninhis
ThirdSymphony,ofwhichthefirstmovementwasdoublethesizeofcorrespondingmovements
inhisfirsttwosymphoniesofClassicalextraction.(DavidDJ

5.Discussinwhatwaysthemusicofthefuturemovementinthelatenineteenth
centuryrejectedthemusicalassumptionsestablishedintheClassicphaseofmusical
style,andinwhatwaysitremainedbasedonthoseassumptions.

(Camille)Thereweretwodividesinthemovement,somefollowingWagners/Lisztian
inclinationofmusic,andthosewhofollowedtheclassicalinclination.Thosewhofollowed
WagnerandLiszt,theywantedtopushmusicalcompositionforward.Thosewhofollowedthe
classicalinclinationwantedtocreatemusicformusicssake,thatwasgoaldriven(teleology)
andwasbasedonharmony.ThosefollowingWagnerandLisztwentawayfromtriadicchords
andintofourths/quintalchords(AlexanderScriabin)andcreatedsongcycle.

6.BothRussianandAmericancomposersinthelatenineteenthcenturyfound
themselvesgeographicallyattheperipheryofthemainstreamEuropeancultural
tradition.Howandwhydidtheirapproachestomusicalstylediffer?

(Camille)Nationalismwasnowtakingpartoftheromanticeraofmusic,inwhich
nationalitiesweretryingtocomeupwiththeirownmusicthatestablishedtheirnationalityfor
theirpeople.

Russia:Tritonesinoperas,primarilychoralinworks.
UnitedStates:MarchesandBrassbandwerethehighendofnationalismforAmerica.

Terms,Concepts,andWorks
(Pat,Wes,Camille)

Romanticism

Novelistic,concentratingonemotionalconflictandclimax.(p.304)

PeriodofExternalization,HeroicPeriod
AperiodwhereBeethoven
experimentedheavilyandbecamefamousforexploringthepotentialofdramatic
expressioninhismusic.(p.310,alsoinclassnotes(March/5th))

PeriodofIntrospection
AperiodwhereBeethovenlosthishearingcompletelyand
inembarrassment,hecompletelyisolatedhimselffromothersandachievedfulfillment
inhiscompositions.(p.316,
ICOULDBEWRONGBUTTHISISWHATIFOUND
)(
This
iscorrect!
)(
Thisisatoaster!
)

HeiligenstadtTestament
AletterthatwaswrittenbyBeethoventohisbrothersCarl
andJohannwhenheretreatedfromViennatothespatownofHeiligenstadttoattempt
tohealhisearinfection,andultimatelyacceptedthathewouldlosehishearing.(p.310)

charactervariation
Themannerinwhichvariationsnotonlydecoratethetheme,but
alsogiveitadifferentemotionalcontextorpersonality.(p.314)

scherzo
literallyjoke,generallyaquick,lightheartedpiece.(Classnotes(p.312,
classnotes(March/5th))

cyclicism
Multiplemovementsofapiecesharingthematicmaterial

elision
Usingthecadentialchordofonephraseastheinitialchordofanother

SymphonyNo.3,Eroica
BeethovensHeroicthirdsymphony,dedicatedto
NapoleonBonaparte.However,uponNapoleonsascensiontoemperor,Beethoven
scratchedhisnameoff.Thissymphonyisalsowidelycreditedwithstartingthe
Romanticera,duetolessstructuredchangesinemotion.

SymphonyNo.5
Anearlyexampleofcyclicism,inwhichtheopeningmotifis
repeatedthroughouttheentiresymphony,andthefinaltwomovementsleaddirectly
intoeachother.

SymphonyNo.9,OdetoJoy
Broughtbacktheheroicfeelingofthethird
symphony,withagrandtieinofthethemesthroughthepieceinafinal,famous
movement
AndieferneGeliebte
asongcyclebyBeethoven,thoughttobededicatedtohis
ImmortalBeloved,AntonieBrentano

songcycle
songsthatstartedtotiemovementstogetherforasenseofunityina
pieceratherthanseparatemovementsbeingalmostlikeseparatepieces
Lied(pl.lieder)
modifiedstrophicform

(Camille)combinesfeaturesofbothstrophicformand
throughcomposed.

VolkstmlichkeitImpliesfolklikesimplicityandreflectionofthenationalfolk
character

ballad
generallythroughcomposed,narrativeanddramaticratherthanpoeticin
nature

NeueZeitschriftfrMusik(1834present)Ajournalstartedin1834thatisstill
publishedtoday,andinonearticleFranzLisztpublishedanessaydefendingprogram
music,sayingitallowstheartisttopursuebeautywithouthavingtofearfailure

Davidsbund
MythicalleaguecreatedbyRobertSchumanntocombatmusical
Philistines,orpeopleuneducatedinmusic.(p.33334)

characterpiece
Agenerictermforshort,onemovementpiecesthatexpressa
particularcharacter.(p.345)

bagatelle
Beethovenstermforcharacterpieces.(p.345)

impromptu
OneofChopinstermsforcharacterpieces.(p.345)

momentmusical
OneofChopinstermsforcharacterpieces(p.345)

nocturne
Pianostylethatresembledcavatinainopera.(p.345)


LiedohneWorte
Songwithoutwords.(p.345)

ariadisorbetto
Ariasofminorcharacters,duringwhichboxholderswouldeatand
talkuntilthemainperformercameoutagain,gainingthemthenicknamesherbetaria
(p.323)

dramma
ThetermGioacchinoRossinipreferedtousetodescribehisseriousoperas
ratherthanoperaseria.(p.325)
scenaedaria
(Camille)Twoparts:Scena:recitative
Aria:cavatina
tempodimezzo(transition)

cabaletta(fasterwithembellishments)

cavatina
Aslowlyricmovementinanaria.(p.336)

cabaletta
Afasterandmoreembellishedconcludingmovementtoanaria.(p.336)

Singspiel
Adramaticworkthatincorporatedbothspokenwordandsingingtoconvey
story,ratherthanonlysingingasinopera.

melodrama
Whencharactersspeakratherthansingoveranexpressiveorevocative
orchestralaccompaniment.(p.326).

belcanto
letvoiceresonate

rubato
subtlerhythmicmanipulationandnuanceinperformance(MD)

grandopera
AgenregenerallyregardedasbeginningwithAubers
LaMuettede
Porticci
.Awayofdistinguishingbetweentheoperacomique,withitsspokendialogue,
andoperathatwassungthroughout.(p.339)

operacomique
Amovementthattooktopicsfromthelifeoftheoppressedclasses
anddepictedtiercharactersasconditionedbysituationsthatledthemtounhappyends
theywerepowerlesstoescape.(p.374)

mazurka
Anativedanceintheromanticerainstylizedpianosettings.(p.342).

polonaise
Anothernativedanceintheromanticerainstylizedpianosettings.(p.342).

concertoverture
Musicalsectionthatbridgestherecitativewiththearia
.

incidentalmusic

overturemusicandmovementstocomebetweentheactsofaspokendrama

programsymphony
multimovementworkwithexplicitliteraturemeaning

idefixe
Obsession(p.347)

Diesirae
Dayofwrath(p.453).

Requiem
Usedmusicoriginallyintendedforacollaborativeworktocommemorate
Rossini,butwasfinishedbyVerdialoneanddedicatedtohisfriendAlessandro
Manzoni.(p.371).

collegno
Playingwiththewoodofthebow,ratherthanthehair.(p.349).

plotarchetype
ARomanticliteraryshapefoundinprogramsymphonies.(p.350)

NewGermanSchool
Whatprogressivecomposerswereidentifiedasandthey
adoptedtheirsloganthemusicofthefuture.ThefounderswereLisztandRichard
Wagner.Theyinsistedthatemotionalcontentsupersededabstractform.(p.356).

TheMusicoftheFuture
TheNewGermanSchoolsslogan.

symphonicpoem
singlemovementorchestralworkinwhichformisnotdeterminedby
abstractcompositionalproceduresbutbytheprogram.

Gesamtkunstwerk
Auniversalartworkorcollectiveartworkthatrepresentsthe
collectiveexperienceoftheculturefromwhichitproceedsandalsosynthesizesinto
oneentitygestural,verbal,andmusicaltypesofexpression.(p.359)

musicdrama
Whatthegesamtkunstwerkwaslatercalled.Thestructureisthatofthe
drama,dictatedbytheartisticcontent.Itservesasameanstocarryoutthedramatic
purpose.(p.360).

unendlichemelodie
melodythatintentionallyavoideddefiningformbylargely
removingindicatorssuchascadencesandobviousfiller,andassuchseemedtobe
endless.

DerRingdesNibelungen
LibrettocomposedbyRichardWagnerforfourmusic
dramas,withdifferentkeyssignifyingdifferentplaces,makingthemusicalconstruction
andplotfollowasingledramaticcontour

TristanundIsolde
TragiclovestorybyWagner,famousforthealmostunresolved
Tristanchord
Tristanchord
Unresolvedchordin
TristanundIsolde
,whileitisahalfdiminished
seventhchord,in
TristanundIsolde
itcouldalsobeasubdominantIIwithasuspended
13
grundthemen(leitmotiv)
basicthemesastheywerecalledbyWagner,aleitmotivis
athemethatdenotesacharacterorplace

lyricopera
focusedonexpressionoffeelingratherthanthespectacularnatureofthe
grandopera

mlodie
Frenchsongs,calleddifferentlyfromchansonandbasedoffoftheGerman
lied

tonepoem
(alsoknownasasymphonicpoem)singlemovementorchestralworkwithan
explicitprogram,usuallypoeticornarrativeinnature.

realism
topicsbasedontheoppressedclasses,leadingcharacterstounhappy
endingsthattheywerepowerlesstoescape.Thismovementwasderivedfrom
Romanticspessimisticrealizationthattheywerenotgoingtorighttheinjusticesof
society.

verismo
Violentopera.Containsmuchmoredemandingvocallines,reinforcedby
heavyorchestralbacking,includingchromaticharmonytoaddtothetension.

exoticism
Theapplicationofnewtonalpatternsandinspirationderivedfrommusical
stylesfromoutsidetheleadingmusicalnationsofEurope.(p.375)

UniversalExhibitionof1889
FirstlargescaleexposureofwesternEuropeansto
musicfromtheFarEast,performedbynativemusicians

Nationalism
Theeffortofmanycountries,bothinandoutofmusic,toattemptto
achieveindependencefromonetoanother

Moguchaykuchka(MightyFive)
FiveRussiancomposerswhoreliedonfolkmusic
ratherthantraditionalconservatorytrainingtoachieveauniquemusicalstylefor
Russia.ConsistedofchemistAlexanderBorodin,militaryengineerCsarCui,civil
servantModestMusorgsky,navalofficerNicolaiRimskyKorsakov,andtheonly
professionalmusician,MilyBalakirev.

SecondNewEnglandSchool
AgroupofAmericancomposerswhofollowedthe
GermanpatternofstudythethreemostprominentcomposerswereJohnKnowles
Paine,

Treatises,Collections,andWorks
Traitdinstrumentation(1843)
DasKunstwerkderZukunft(1850)

Names:
JohannWolfgangvonGoethe(17491832)
LudwigvanBeethoven(17701827)
FriedrichSchiller(17591805)
JohannRudolfZumsteeg(17601802)
CarlMariavonWeber(17861826)
GiacomoMeyerbeer(17911864)
EugneScribe(17911861)
GiocchinoRossini(17921868)
FranzSchubert(17971828)
GaetanoDonizetti(17971848)
VincenzoBellini(180135)
HectorBerlioz(180369)
FannyMendelssohnHensel(180547)
FelixMendelssohnBartholdy(180947)
FrdricChopin(181049)
RobertSchumann(181056)
FranzLiszt(181186)
GiuseppeVerdi(18131901)
RichardWagner(181383)
AdolpheSax(181494)

AntoninDvok(18411904)
CharlesGounod(18181893)
ClaraWieckSchumann(181996)
CsarFranck(182290)
BedichSmetana(182484)
AntonBruckner(182496)
EduardHanslick(18251904)
StephenCollinsFoster(182664)
LouisMoreauGottschalk(182969)
JohannesBrahms(183397)
GeorgesBizet(18381875)
ArrigoBoito(18421918)
GiacomoPuccini(18581924)
HugoWolf(18601903)
GustavMahler(18601911)
RichardStrauss(18641949)
AlexanderScriabin(18721915)
EdvardGrieg(18431907)
EdwardElgar(18571934)
IsaacAlbniz(18601909)
MikhailGlinka(18041857)
AlexanderBorodin(183387)
CesarCui(18351918)
MilyBalakirev(18371919)
ModestMussorgsky(183981)
NicolaiRimskyKorsakov(18441908)
PyotrIlyichChaikovsky(18401893)
JohnKnowlesPaine(18391906)
GeorgeWhitefieldChadwick(18541931)
EdwardMacDowell(18601908)
HoratioParker(18631919)
AmyBeach(18671944)

UnitIIListeningandScoreStudyGuide
Example1
Symphony:LudwigvanBeethoven,SymphonyNo.3inEflatMajor:Allegroconbrio
(movementone)
https://www.youtube.com/watch?v=ft9lJBXW5rg
(DavidDJ)


Form:SonataAllegro(Expanded)

Example2
Lied:FranzSchubert,GretchenamSpinnrade
https://www.youtube.com/watch?v=MY0eeotSDi8
(DavidDJ)
Form:Strophic/Rondo
Instrumentation:FortePiano,VocalistFemale

Example3
CharacterPieces:RobertSchumann,Carnaval,Op.9:Excerpts
https://www.youtube.com/watch?v=VELPD6FVylA
(DavidDJ)

Example4
CharacterPiece:FrdricChopin,NocturneinDflatMajor,Op.27,No.2
https://www.youtube.com/watch?v=WJ8RVjm49hE
(DavidDJ)
Form:RondoABACACoda
Texture:Homophonic
SoloPiano

Example5
KeyboardWork:FranzLiszt,Troistudesdeconcert:No.3:Unsospiro
https://www.youtube.com/watch?v=Pqy9KGqssc
(DavidDJ)
Keyboardgymnastics
mostlyarpeggiatedbass,simplemelodyline

Example6
ProgramSymphony:HectorBerlioz,Symphoniefantastique,DreamofaWitches
Sabbath(movementfive)
https://www.youtube.com/watch?v=RVUAR8Nk8xQ
(DavidDJ)(TylerMcMillan)
tempochangeshintatsectionchanges

Example7
ChamberWork:ClaraWieckSchumann,PianoTrioinGMinor,Op.17:Andante
(movementthree)
https://www.youtube.com/watch?v=JJRkjbXDlY
(DavidDJ)


Example8
EarlyRomanticOpera:CarlMariavonWeber,DerFreischtz,ActII,Finale:Wolfs
GlenScene
https://www.youtube.com/watch?v=IDI3Kstg5Ok
(DavidDJ)
Basedondiminishedchord
Bothchorusandsolosingersfeatured

Example9
MatureRomanticOpera:GiuseppeVerdi,Latraviata,ActIII,ScenaandDuet
https://www.youtube.com/watch?v=0qnIBXK6LUc
(DavidDJ)
Male/FemaleDuet

Example10
LateRomanticSymphony:JohannesBrahms,SymphonyNo.4inEMinor,Op.98:
Allegroenergicoapassionata(movementfour)
https://www.youtube.com/watch?v=EhmCNkWCUtA
(DavidDJ)
Form:ThemeandVariations(Originalthemestatedinthefirsteightbars,30variations
throughoutrestofthepiece)(DavidDJ)

Example11
March:JohnPhillipSousa,TheStarsandStripesForever
https://www.youtube.com/watch?v=mRn9chmRAY
(DavidDJ)

Example12
OrchestralSongCycle:GustavMahler,Kindertotenlieder:No.1,NunwilldieSonnso
hellaufgeh
https://www.youtube.com/watch?v=hqTyEKB64EE
(DavidDJ)

Multiple Choice Quiz - 19

AnthonyBernabel

Animportantmodelforthesuccessofaheroicpersonalityinpoliticallifeat
the
turnofthenineteenthcenturywas
Napoleon Bonaparte
.


Beethoven's middleperiodissometimesknownashis
heroic

period
.

The HeiligenstadtTestamentwasBeethoven's
reflection onhisdeafnessandhis
vocation
.

ThepoetwhowrotethetextBeethovenusedinhisNinthSymphonywas
Friedrich
Schiller
.

Twoimportantexamplesofthe
songcycle
are
AndieferneGeliebteandDieschne
Mllerin.

FranzSchubert
combinedthefolkidealinsongwith personalinterpretationofthe
songtext.

W
illiam

Shakespeare
wasidealizedbyearlyRomanticopera librettistsbecause

heprovidedamodelofagreatartistwho

succeededdespitehisdisregardfor

standardrulesofartisticform.

Italianopera composersintheearlynineteenthcenturyoftenusedtheprocessof
parody
to

recycletheirmusicinordertokeepupwiththedemandfornew

Therescue operawascreatedin
France

Schubert

around1800.

neverachievedmuchpublicacclaimandreliedforhisdailyliving

generosityofhisfriends.

works.

onthe

Multiple Choice Quiz 20

AnthonyBernabel

The composer
Robert Schumann
worked as a music critic and founded the
Neue Zeitschrift fr Musik
, an independent music journal.
TheItaliancomposersoftheRomanticperioddevelopedastructureforthelargesolo
operaticnumberin
two
largeparts.

The"dissimilarduet"wasdesignedtoexpressdramaticconflictinoperabythe
composer
GaetanoDonizetti
.
EugneScribemadehisimportantcontributionstothehistoryofmusicasa
librettist
.
.NicoloPaganinimadehisimportantcontributionstothehistoryofmusicasa
virtuoso
performer
.
1.

Themazurkawasatypeof
character
danceandusedby
Chopin.

piece
forpianobasedonaPolish

Berlioz's
Symphoniefantastique
isanexampleofthegenre
program
symphony
.

Thecomposer
HectorBerlioz
wasoneofthemostimaginativeorchestratorsof
theRomanticperiodandevenwroteatreatiseonthesubject.

Cyclicunification
standsasanabstractsymbolinmusicoftheRomantic
thinker'ssearchfortheunityinallthings.

Theconductor
FelixMendelssohnBartholdy
hasanimportantplaceinmusic
historyforhisroleinrevivingtheworksofprecedinggenerationsinhis
performances.

Multiple Choice Quiz - 21

AnthonyBernabel.
TheprogressivecomposersworkinginGermanyintheperiodafter1850became
knownasthe
New GermanSchool
.
Inhissymphonicpoems,Liszt
structuralcoherencein

employed
thematic

transformation
todevelop

unconventionalforms.

Wagner's
TristanundIsolde
is

anexampleofthegenrehecalled
music

drama
.
AmusicalideainWagner'smature

works,oftenassociatedwithanideaor

characterintheplotand developedinsymphonicstyleintheorchestra,isusually
calleda

Leitmotiv
,a termthecomposerhimselfdidnotuse.

Thecomposer
Brahms

tookupthetraditionofMendelssohnandSchumannand

laterprovidedimportantsupporttothecareerofDvok.
Verdi'slasttwooperaswerebothadaptedfromworksof
WilliamShakespeare,
who
wasanimportantfigurein nineteenthcenturyliterarythought.
ThepostRomanticcomposerGustav
materialtakenfrom
hisownLieder.

Mahlerbasedseveralofhissymphonieson

The
verismoopera
employedplotsthatfeaturedviolentemotional outbreaksin
charactersfromthelowerclassesandamusicalstylebasedondeclamatorysinging
andpowerfulorchestration.
Composersseekingtorevitalize theEuropeanmusicaltraditioninthelatenineteenth
centuryturnedto
exoticism
,theuseofmaterialsderivedfrommusicalstylesfrom
outsidethe leadingnationsofEurope.

The
moguchaykuchka
wasanimportantgroupofnationalist

composersinthe

latenineteenthcentury.
ThanksforthisTony,thiswasagoodideatopostthemultchoicequestions