German song for voice and piano.

Built on strong 18th century tradition. Popularity grew after 1800. The number of german song collections published increased from about one a month in the late 1700's to over one hundred a month in 1826. Changes in poetry anticipated changes in the Lied. Poets drew elements from both classical and folk traditions. A frequent theme was an individual confronting the greter forces of nature or society, vulneralbe yet ennobled by the encounter; another was nature as a metaphor for human experience. The main poetic genre continued to be the lyric poem, a short, strophic poem on one subject expressing a personal feeling or viewpoint. The ultimate models were the lyric poets of acient Greece and Rome, such as Sappho and Horace.

Songs tradition in the United States. held and important place in home music making, but they were also sung in musical theater productions and public concerts. Songs of this type are usually strophic or in verse-refrain form, with piano preludes and postludes based on phrases from the tune. Their expressivity lies almost entirely in the vocal melody. The piano supports the singer with conventional figuration, rather than dramatizing or interpreting the text as it does in many German Lieder.

Song like Bishop's Home sweet home and Foster's Oh! Susanna were of this genre. While today we think of these as popular songs of the day, they were actually art songs just as German Lieder and share many of the same characteristics.

In France with the declie of royal patronage, a new kind of opera came into being, designed to appeal to the newly well-to-do middle-class audiences who thronged the opera theaters looking ofr excitement and entertainment. This type was a much spectacle as music, consistent with the fashion that had prevailed in France ever since Lully. Writers created librettos that exploited every possible occasion for ballets, machinery, chruses and crowd scenes, while flattering the middle class by painting aristocrate as wicked and their opponents as virtuous. Two early examples were Rossini's Guillaume Tell featuring an onstage lake across which Tell rows to safety and la muette de Portici (the Mute of Portici) by Daniel Francois Esprit Auber which ends with the eruption of the vocano Vesuvius and ironically has a title role that is danced, not sung, since she is a mute.

German opera composer. ONe of the most crucial figures in niteteenth century culture. One of the most influential musicians of all time. His emphasis on music as the servant of drama, hsi use of leitmotives as an organizing principle and his chromatic harmonies had a profound and far reaching impact on many later composers. Born in Leipzig Germany.

Wrote. The artwork of the Future and Opera and Drama (books). composed The flying Dutchman, Tannhauser and lohengrin, Der Ring des Nibelungen, Tristan, Die Meistersinger van Nurnberg and his final work Parsifal.

composed by Bizet. Cobination of exoticism and realism. It was set not in Asia but in Spain, considered as exotic by Parisians despite its proximity. Originally classified as an opera comique because it contained spoken dialogue (later set to recitative), it was a stark realistic drama ending witha tragic murder. That such an opera could be called comique shows that the distiction between opera and opera comique had become a mere technicality.

The Spanish flavor was embodied especially in the character of Carmen. Carmen is a Gypsy who works in a cigarette factory and lives only for the pleasures of the moment. Her suggestive costume and behaviour, her provocativesexuality and language, and Bizet's music all characterize her as outside of normal society, making her both dangerous and enticing. Bizet borrowed three authentic Spanish melodies, including Carmens famous habanera L'amour est un oiseau rebelle (Love is a rebellious bird).

When nationalism began to affect Russian arists, opera proved valuable as a genre in which a distinctive Russian identity could be proclaimed through subject mater, set design, cosumes, and music. Ironically, whil nationalism was a force for unification in Germany and Italy and for liberation struggles in austria-Hungary, in Russia it was primarly a tool of propaganda for the absolutist government under the czar.

When Czar Alexander II emancipated the serfs in1861, he did so as part of a broader effort to modernize Russia and catch up to Western Europe. There were two main approaches to modernization: the nationalists, or Slavophiles, idealized Russia's distictiveness, while the internationalists or westernizers, sought to adapt Western technology and education This dichotomy has often been applied to schools of Russian comosers, but it is misleading, because all who composed operas, ballets, symphonies or sonatats were adopting Westrn genres and approaches, whatever their style. Rather, a distinction might be made between composers who pursued professional training in the Western mode and those who opposed accademic study as a threat to their originality.

Also known as the Mighty Five or the Russian Five. Stood against ily Balakirev, Aleksander Borodin, Cesar Cui, Modest musorgsky and Nikolay Rimsky-Korsakov. Only Balakirev had conventional training in music, but it would be wrong to call the other amateurs. They admired Western music but studied it on their own outside the academic musical establishment whose exercises and prizes they scorned. Incorporatd aspects of Russian folk song modal and exotic scales, and folk poyphony, but they also extended traits from the Western composers they most admired.

Balakirev was the leader of their circle and an informal teacher for the songs inhis own arrangements that were sources for many later composers. Cui completed fourteen operas, including four for childern but none entered the permanent repertory. Borodin, though devoted to music from a young age, was a chemist by profession and had difficulty finding time to compose. Left many works unfinished , including Prince Igor, a four act opera in the French grand opera tradition. it was completed after his death by Rimsky-Korsakov and Aleksander Glazunov and premiered in 1890.

Musorgsky was considered the most original of the the group. Earned a living as a clerk in the civil service and received most of his musical training from Balakirev. His two principle stae works were operas Boris Godunov based ona Pushkin play and Khovashehina (The Khovansky Affair). The realism so prominent in the nineteenth century Russian literature echoes especially in Boris Goduvov, int eh way Musorgsky imitated Russian speech, in ihis lifelike musical dipiction of gestures and , in the choral scenes, the sound and stir of the crowds.

Rimsky-Korsakov studied with private teachers and with Balakirev while pursuing a career in the Russian Navy. He became a professor at the St. Petersburg Conservatory, abandoning the anti-academic stance of the Balakirev circle. He quickly became aware of how much he still had to learn before he could teach music theory.

Leading German composer of his time. Born in Hamburg to a family of modest means. Father played bass and horn in dace halls and local ensembles. Brahms studied piano, Cello and horn as a child and through lessons in piano and music theory developed a love for music of Bach, hayd, Mozart and Beethoven. Earned mony playing popular music at restaurants and taverns which fostered a lifelong taste for folk and popular music.

Wrote four symphonies, concertos, chamber works including seven works for piano and strings. Wrote many piano solo pieces as well as songs or Lieder. In addition he wrote choral works including his greatest choral work Ein Deutsches Requiem (A German Requiem) for soprano and baritone soloists, chorus and orchestra.

1811-1886. The most astoundsting piano virtuoso of his era and one of t its most important composers. A child prodigy i Hungary and Vienna. As a young man he frequented the salons that formed the core of Parisian intellectual and artistic life. There he met many of the most notable writers, painters and musicians of the day. Was lover with the countess Marie d'Agoult and lived together in Switzerland and Italy from 1835 to 1839. Wrote for piano and orchestra.

Created programmatic genre symphonic poem. Wrote 12 symphonic poems each a one-movement work with sections of contrasting character and tempo, presenting a few themes that are developed, repeaed , varied or transformed. These pieces are symphonic in sound, weight, and developmental procedures and are poems by analogy to literary poems.

Devised a method of providing unity, variety, and narrative-like logic to a composition by transforming the thematic material to reflect the diverse moods needed to portray a programmaic subject known as Thematic transformation.

Wrote choral music including oratorios.

Genre named by Liszt. Symphonic in sound, weight, and development procedures and are Poems by analogy to literary poems. Often the form has vestiges of traditional patterns such as sonata form or the contrasts in mood and tempo found in a four-movment symphony but was only a one-movement work.

The content and form was usually suggested by a picture, staue, play, poem, scene, personality, or something else, identified by the title and usually by a program.

First appears in the works of Hugo Wolf who was best known for adapting Wagner's methods to the German Lied.

The process where a measure of intense chromaticism of all twelve chromatic notes appear within one or two measures.