WVU Music 271 Podcast


March 21, 2007

Music 271: 3/19/07
II: Post-Romanticism in Europe, c1850-1914 (Start of WWI):
A: The break down of the previous consensus concerning musical style:
• Historical period = consensus concerning music (performance practices, purpose, etc.)
• GB p. 30
• 2 conflicting perceptions of place and purpose in music:
• Germanic Romanticism vs. Nationalism
B: The Emergence of European Nationalism
• Has continued to present day
• No one nation sets the standard anymore
• Reaction to political and cultural domination by Germany over Central Europe
• Italy and Central Europe were primary areas before WWI
• Reaction to the power structure in Europe (Bonds p. 385)
• Music that was based upon the composers vision of his/her society/history/culture/values/literature in the composer’s first language
• New compositions emerging based on subject material from the composers region
• Dance rhythms are one way in which Nationalism can be expressed
• GB p. 62, Bonds p. 494, 491

III: The concept of program music of the Romantic and Post-Romantic periods:
A: The principal orchestral genre of program music: the Symphonic or Tone Poem (Symphonische Dichtung, Ton Dichtung):
• Franz Liszt coined the term Symphonic Poem in Hungarian, not German
• Primary means of projecting Nationalism
• Exclusively Instrumental music
• Program Music: compositions intended by their composers to depict a story, narrative, series of events, sequence of thoughts, purely by means of instrumental music

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