...In this Essay i will be writing about a Composer named Franz Joseph Haydn. Franz Joseph Haydn was a composer in the Classic Era group in 1750-1820 He was known all around australia and London. He was one of the biggest known composer in London For the Classic Era group. Classic Era is a group of music known for its Formal balance, refined Expression, diatonic harmonies, and clear melodies. People refer to the Classic Era as a group of Australian people. Early Life Fanz was born on March 31, 1732 in Rohrau Australia. He died on May 31, 1809 also in Rohrau Australia. Franz spent most of his life in Rohrau Australia. Franz had two brothers named Michael Haydn, and Johann Haydn. Three sisters named Franziska Haydn, Anna-Maria Haydn, and Anna-Katherina Haydn. A spouse named Maria-anna Aloysia Apollonia Keller, and a son named Alois Anton Nikolaus Polzelli. He had a very musical family that would always sing. Often they sang with there very musical neighbors. They sang christmas carols and tins more songs. They enjoyed singing with their neighbors, because it brought them tons of joy. Life as a composer...
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...Romantic authors lived through a time of revolution, the American Revolution and the French Revolution. Each of these rebellions was rooted in the idea that the common man deserved and was owed certain inalienable rights. They became more interested in the individual and in gaining self-knowledge. This self-knowledge led to an interest in psychology and psychological disorders. Romantic writers initiated a revolution of their own. They revolted against the ideals and themes of the Enlightenment era, instead of reason and science they turned to feelings and an oneness with nature in their works. In addition to revolution, there were reforms, expansionism, and other changes within society that affected the writing of these authors in a deep...
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...Age of Enlightenment and a reaction against the scientific rationalization of nature. It was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography, education and the natural sciences. Its effect on politics was considerable and complex; while for much of the peak Romantic period it was associated with liberalism and radicalism, in the long term its effect on the growth of nationalism was probably more significant. Romanticism era is the revolution of writers, painters, and dancers. The well-know writer in romanticism era is Johann Wolfgang von Goethe. His first novel, The Sorrows of Young Werther (1774), about a young, sensitive artist, was popular throughout Europe. Goethe also used myth and local folklore as subjects for his poetry, inspiring a sense of German nationalism in the decades before a unified Germany. The American and French Revolutions in the late 18th century added to the popularity of such Romantic ideals as freedom, liberty and national pride. Ballet began to lose steam after the death of Louis the XIV, despite a slight boom in participation and popularity in Eastern Europe. However, a new era began when a group of gifted ballerinas emerged in the first half of the 19th century, including the legendary Marie Taglioni. The daughter of choreographer Paul Taglioni, Marie had a natural gift for dancing, though her proportionally short arms and legs sometimes overshadowed her talent. Desperate to boost his daughter’s...
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...Art in the Romantic Age * Henry Fuseli (1741-1825) is known as one of the Masters of Gothic Romanticism. I ranked him above all in this period of time when it comes to art. His paintings told dark stories but with a hint of light with an angelic figure standing by or watching the scene unnoticed it seems by the character the story is about. * William Blake (1757-1827) is another known as a Master of Gothic Romanticism. His paintings were about death and despair with little light ahead just like Henry Fuseli. But both have paved the way for future artists and in musical artists to let out their anguish and hatred of the world as they see it into their works. Music in the Romantic Age * Ludwig van Beethoven (1770-1827) is still the greatest composer who has ever lived. His works for symphony orchestra include nine symphonies, and about a dozen pieces of "occasional" music. He wrote seven concerti for one or more soloists and orchestra, as well as four shorter works that include soloists accompanied by orchestra. His only opera is Fidelio. Most of his works today are being played in music classes, operas, orchestra concerts, and plays alike. * Fryderyk Chopin (1810-1849) was a Polish composer and virtuoso pianist of French-Polish background. He is considered one of the great masters of Romantic music. Chopin invented the instrumental ballade and made major innovations to the piano sonata, mazurka, and the waltz. Just like Beethoven, Chopin’s music has greatly...
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...Valerio Sanders Music Appreciation Final Exam My comparison will go between two periods that was classic vs. romantic classical music composers were satisfied to stay and work within a definite boundary of what made up the acceptable music. In this era the chord resolutions were at all times the identical, and furthermore the connection between keys, sections, and movements, maintained proportion. On the other hand the Romantic composers extended these boundaries or rather limitations, and in place they brought in new chords, atypical key changes and in numerous ways went in opposition to the way they were made in the classical period Romantic period dealt with more emotions. Ludwig Van Beethoven - Symphony No. 5 in C Minor which is my favorite piece from the classical period and Franz Liszt - Hungarian Rhapsody which consisted of great story telling through the music. Exoticism influenced by some ethnic groups music groups from the late 19th-century. This means when different ethnic cultures start to make a dramatic influence on the primary music at this time which led to a major change in music. Nationalism is the fact that various types of political evolution were achieved in each country that in turn affected musical nationalism refers to the various national schools that consciously tried to separate themselves from the standards set in the Classical period. Trying to remove themselves from the boundaries of which classical music set transcending music itself...
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...During the 19th century, the Arts began to undergo a union. Artist of all fields began to want their pieces to reflect each other. In fact during the Romantic Era, poets and authors wanted their works to be musical while musicians wanted their music to be poetic and tell a story. In order for composers to write pieces that told a story, they began to write several types of program music for piano and orchestra. Program music can be divided into categories: symphonic poems (tone poems), program symphonies, concert overtures, and incidental music. Firstly, a type of program compositions written in the 19th century was the symphonic poem which can be sometimes referred to as a tone poem. Symphonic poems can be defined as a single movement for orchestra that has no definite form, and is inspired by a subject apart from music, typically a story or poetry; an example of a tone poem would be Danse macabre by Camille Saint- Saëns. Danse macabre was based off the text of the French poet Henri Cazalis poem by the same name. Moreover, symphonic poems can be written in many different forms such...
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...Identify the distinctive stylistic features of Romantic music. The romantic era (1800-1850) in music is made by large pieces of work that start to make bigger orchestras with bigger sounds. This music places a strong point on “stirring emotions” within the listener, and doesn’t have to do with the emotion of “love”. Romantic composer made this by writing more complicated music. They use key changes, dissonance, and chromatics a lot. This was done by improving instruments that was played in music theory and teaching how to write music. Beethoven played a major part in bringing music into this new style, and his 3rd symphony is a prime example. Few Romantic composers were Schumann, Chopin, Rossini, and Tchaikovsky. Few characteristics of Romantic music are intense expression of emotions, more freedom in the structure (form) of the music, more complex use of tone and rhythm, larger orchestras/developments in wind instruments, greater technical virtuosity, sense of “nationalism” in musical styles, and links music with other art forms. 2. Discuss the romantic orchestra, program music, nationalism, and exoticism. Romantic orchestra has a wider range of instruments and pitches. It has many more players than a classical orchestra. Romantic orchestra was used in different ways. For example, composers start to use more adventurous techniques like flutter-tonguing on the woodwind instruments and col legno on string instruments. Romantic orchestras have larger brass and percussion...
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...Discuss Berlioz’s contribution to the symphony Berlioz is often overlooked as an influential composer; however the reality is that he was one of the most important due to his developing ideas of how orchestration could be expanded, how symphonic form could be developed and how music would be written in a programmatic style. Above all this, Berlioz was one of the pioneers of the Romantic period, inspiring through his innovation of ideas such as the ‘idée fix’ and as some saw it, his disregard for the ‘Viennese Architectural Legacy’ and ‘rules of composition’. The ‘idée fix’ was Berlioz’s most famous creation as it enabled him to take a more narrative approach to his composing. This was important as it contrasted from the strongly structured music that had come before him. The idée fixe is used to unify the disparate elements of the symphony in ‘Symphonie Fantastique’. Another talent Berlioz was gifted with was the art of orchestration. Although, it was not an advance that was received well at the time, it had an overarching effect of great significance. Berlioz demonstrated his talent in his first symphony, ‘Symphonie Fantastique’. This work was the first of four symphonies that Berlioz composed. ‘Symphonie Fantastique’ was composed in a programmatic format. Berlioz may well have been the first great composer to not be able to play a musical instrument, nor to have shown any musical talent at an early age. But he persevered, and became interested in different ways to use the...
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...its musical form has triumphed around the globe, so that from London to Boston to Mexico City to Tokyo to Vladivostok to Oslo, the most popular orchestral music in the world is that of the romantic era. After almost a century of being attacked by the academic and professional world of Western formal concert music, the style has reasserted itself as neoromanticism in the concert halls. When John Williams created the sound of the future in Star Wars, it was the sound of 19th-century Romanticism--still the most popular style for epic film soundtracks. Beginning in the last decades of the 18th century, it transformed poetry, the novel, drama, painting, sculpture, all forms of concert music (especially opera), and ballet. It was deeply connected with the politics of the time, echoing people's fears, hopes, and aspirations. It was the voice of revolution at the beginning of the 19th century and the voice of the Establishment at the end of it. This last shift was the result of the triumph of the class which invented, fostered, and adopted as its own the romantic movement: the bourgeoisie. To understand why this should have been so, we need to look more closely at the nature of the style and its origins. Origins: Folklore and Popular Art Some of the earliest stirrings of the Romantic movement are conventionally traced back to the...
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...The Concept of Nature in the Poetry of William Wordsworth and Robert Frost : A Comparative Study Chapter One Introduction 1. Background Poets have long been inspired to tune their lyrics to the variations in landscape, the changes in season, and the natural phenomena around them. The Greek poet Theocritus began writing idylls in the third century B.C.E. to glorify and honor the simplicity of rural life--creating such well known characters as Lycidas, who has inspired dozens of poems as the archetypal shepherd, including the famous poem "Lycidas" by John Milton. An idyll was originally a short, peaceful pastoral lyric, but has come to include poems of epic adventure set in an idealized past, including Lord Alfred Tennyson's take on Arthurian legend, The Idylls of the King. The Biblical Song of Songs is also considered an idyll, as it tells its story of love and passion by continuously evoking imagery from the natural world. The more familiar form of surviving pastoral poetry that has retained its integrity is the eclogue, a poem attuned to the natural world and seasons, placed in a pleasant, serene, and rural place, and in which shepherds often converse. The first eclogue was written by Virgil in 37 B.C.E. The eclogue also flourished in the Italian Renaissance, its most notable authors being Dante and Petrarch. It became something of a requirement for young poets, a form they had to master before embarking upon great original work. Sir Philip Sidney’s Arcadia and Edmund Spenser’s...
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...EMI's “100 Best Piano Classics” is a six-CD set which focused on music from Classical and Romantic eras. The most familiar names associated with piano music included Frédéric Chopin, Ludwig van Beethoven, and many other celebrated composers who worked wrote much of their best music for it. “This polonaise, nicknamed the "Heroic," is one of Chopin's most popular works” (Cummings). The piece is a program music and consists mostly of piano keyboards. The tempo of the piece is of a polish dance. It is written in A flat Major. The form is ternary (A-B-A). The first and third parts (A) are musically identical, or very nearly so, while the second part (B) in some way provides a contrast with them. I feel that Chopin was telling a story about his home country, Poland, going into battle or war. The piece started out very loud and fast. As if a general was entering a room to give a speech to his soldiers before they depart into battle. This speech was strong as if to give strength and courage for the soldiers to fight without fear and to stand as one. The piece is still fast and consistent throughout this speech. And before the end of the speech the music was a little softer and transcending into the next section. In the middle section of the piece it paints a picture of being in battle. The piece is very loud and fast. I see a picture of the soldiers holding up their swords and screaming at the top of their lungs with their hearts pounding and running towards their enemy. The...
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...Love & Beauty John Keats: Keats is called the poet of beauty or some critics address him as ‘the worshiper of beauty’. Keats’s notion of beauty and truth is highly inclusive. That is, it blends all life’s experiences or apprehensions, negative or positive, into a holistic vision. Art and nature, therefore, are seen as therapeutic in function. Keats was considerably influenced by Spenser and was, like the latter, a passionate lover of beauty in all its forms and manifestation. This passion for beauty constitutes his aestheticism. Beauty, indeed, was his pole-star, beauty in Nature, in woman, and in art. He writes and defines beauty: “A think of beauty is joy for ever” In John Keats, we have a remarkable contrast both with Byron and Shelley. He knows nothing of Byron’s stormy spirit of antagonism to the existing order of things and he had no sympathy with Shelley’s humanitarian real and passion for reforming the world. But Keats likes and worships beauty. In his Ode on a Grecian Urn, he expresses some powerful lines about his thoughts of beauty. This ode contains the most discussed two lines in all of Keats's poetry: “Beauty is truth, truth beauty," - that is all Ye know on earth, and all ye need to know.” The exact meaning of those lines is disputed by everyone; no less a critic than TS Eliot considered them a blight upon an otherwise beautiful poem. Scholars have been unable to agree to whom the last thirteen lines of the poem are addressed. Arguments can be made...
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...Concert essay Without possessing the knowledge of what is so called romantic music, we generally refer to it is a kind of music which tends to evoke a soft mood or dreamy atmosphere. However, it is partially true; many musical works in Romantic era produce strong, harsh sounds for agitated emotion. The characteristics of this period’s music are strongly tied to a word, “extreme”; that is, extreme in size, length, pitch, dynamics and tempo in most musical pieces. During this era, the musician has a greater freedom in form and design, and a more intense personal expression of emotion in which fantasy, imagination, and quest for adventure play an important part. Highly accomplished composers such as Frederic Chopin and Eugene Ysaye, had great technical virtuosity in playing piano and violin. Eugene Ysaye’ “Sonata No.2 in A minor, op. 27, no.2” is considered a miniature, a piece that is small in size and short length, consisting only of two movements. The first movement is a little bit vivacious, and the second movement is slower and softer. It is only performed by one performer and one instrument. Because of its short length, smaller size and relative simplicity, this instrumental piece is called a lyric or character piece, which “expresses one emotion or emotional journey.” The lyric or character piece is new genre that appeared in the Romantic period. The two musical elements Ysaye emphasized most are tempo and dynamic range. The violinist in both movements was struggling...
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...Alita Fonseca Balbi “The Less Deceived”: Subjectivity, Gender, Sex and Love in Sylvia Plath's and Philip Larkin's Poetry Belo Horizonte Faculdade de Letras Universidade Federal de Minas Gerais 2012 i “The Less Deceived”: Subjectivity, Gender, Sex and Love in Sylvia Plath's and Philip Larkin's Poetry by Alita Fonseca Balbi Submitted to the Programa de Pós-graduação em Letras: Estudos Literários in partial fulfillment of the requirements for the degree of Mestre em Literaturas de Expressão Inglesa. Thesis Advisor: Sandra Regina Goulart Almeida, PhD Belo Horizonte Faculdade de Letras Universidade Federal de Minas Gerais 2012 ii ACKNOWLEDGMENTS To my father, Tadeu, for always reminding me of the importance of having dreams and being true to them; for motivating me to be creative and to believe in my potential; and for teaching me to seek beauty and happiness in everything I see and do. To my mother, Socorro, for always making sure I enjoy all the possibilities that cross my path, and for reminding me that hard work is the only means to achieve my goals. To my brothers, Bruno and Diego, for being my best friends. To my sister-in-law, Sabrina, for embracing me as family and making me feel at home even when I’m not. To Paulo, for his company, for his love and care, and for all his witty remarks. To the professors of Letras, Julio Jeha, José dos Santos, Eliana Lourenço and Gláucia Renates, for being extraordinary professors, and for all the knowledge each...
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...to make the best of any happiness they have. In “Ode On A Grecian Urn” by John Keats, the effects of both love and loss are displayed. The poem describes two lovers frozen in time, forever immortalized as a painting on an urn. These lovers can not move forward in their relationship or actively show their love, though they are still able to spend their lives together in peace. Similarly, Mary Shelley wrote about themes of love and loss in Frankenstein, as a character Victor Frankenstein creates a monster that murders many of his family members and other loved ones. However, Victor is not the only one who feels the pain of loss, as the monster also feels neglected and rejected from any form of love or care that he tries to pursue. The Romantic Era texts “Ode On A Grecian Urn” by John Keats and Frankenstein by Mary Shelley display both the important presence of and the reliance between love and loss and the balance of their euphoric and destructive effects on individuals. Love has both a uniquely detrimental and unequivocally beneficial impact on those who experience it. The lovers in Ode On A Grecian Urn feel both of these sides of love. John Keats is able to convey this message in his poem; “Heard melodies are sweet, but those unheard/Are sweeter; therefore, ye soft pipes, play on;/Not to the sensual ear, but, more endear'd,/Pipe to the spirit ditties of no tone:/Fair youth, beneath the trees, thou canst not leave/Thy song, nor ever can those trees be bare;” (Keats 11-16)...
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