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19th CENTURY
    MUSIC
         By

 SERGIO ANDRÉS GÓMEZ
       RAMÍREZ
INTRODUCTION
The Nineteenth century was marked by a lot of social and political change.
The growth of industry and trade led to a commercially driven society. After the
revolutions of the late 18th century the public viewed any self-proclaimed
authority with skepticism. The independence and leisure of the individual
became all-important.


All of the above had an impact on the fine arts. In fact, it wasn't until the 19th
century that music, poetry, literature, painting, architecture, and sculpture were
lumped together and distinguished from other forms of art. Philosophers such
as Kant, Schopenhauer, and Hegel all sought to define the significance of
Romantic music.
INTRODUCTION



As the 18th century drew to a close so too did the days of patronage. The
only way for many artists to make a living was through a court
appointment or the support of a patron. Mozart may have been one of the
first composers to try his hand as a freelance composer but the
composers of the 19th century really established this as a trade. Public
performance was growing in popularity so composers were no longer
only writing music for royal courts and the events that took place within.
Operas were also being increasingly performed as ticketed events rather
than just a gathering place for the nobility.
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COMPOSITIONAL STYLES  FORMS
The 19th century was marked by a number of distinctive compositional styles
and forms. Many of these began during the Classical period but major revisions
and new standards were applied by the composers of the Romantic era. The
emerging aesthetics of the period remain popular and are adhered to by many
modern composers. The symphony and opera are two excellent examples of
this and they are examined in the following two sections respectively:


•Instrumental Styles and Forms
•Vocal Styles and Forms
INSTRUMENTAL STYLES 
               FORMS

Instrumental music styles of the 19th century varied from short to lengthy
works written for single instruments or large orchestras. These pieces can
be categorized as either absolute or program music. Although there is an
abundance of instrumental music styles and forms common to the period,
chamber and piano music, the symphony, and program music are
distinctively 19th century.
CHAMBER  PIANO MUSIC

Chamber music, as its name implies, is a work written for a small ensemble
(generally from one to five players) well suited to performances in mid-sized
rooms or chambers. Composers had been writing for string quartets for some
time but with the larger diversity of instruments, quintets became common as
did music for small ensembles of wind instruments. As the piano gained in
popularity it was added to these sting and wind ensembles, often as a
featured instrument. Many concertos and sonatas were written for the piano
as it became a symbol of gentility. Franz List and Frederic Chopin were two
of the best known piano virtuoso's of the day.
SYMPHONY
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PROGRAM MUSIC


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PERIOD INSTRUMENTS




The 19th Century was an important period of development for a number of
orchestral instruments. This was partly driven by the advance of industry and
its impact on the craft of instrument making. The popularity of solo
performance and the incredible skill of the musicians and composers also
pushed the limits of instruments throughout the period.
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CULTURAL EVENT UNAL (19th CENTURY MUSIC)

  • 1. 19th CENTURY MUSIC By SERGIO ANDRÉS GÓMEZ RAMÍREZ
  • 2. INTRODUCTION The Nineteenth century was marked by a lot of social and political change. The growth of industry and trade led to a commercially driven society. After the revolutions of the late 18th century the public viewed any self-proclaimed authority with skepticism. The independence and leisure of the individual became all-important. All of the above had an impact on the fine arts. In fact, it wasn't until the 19th century that music, poetry, literature, painting, architecture, and sculpture were lumped together and distinguished from other forms of art. Philosophers such as Kant, Schopenhauer, and Hegel all sought to define the significance of Romantic music.
  • 3. INTRODUCTION As the 18th century drew to a close so too did the days of patronage. The only way for many artists to make a living was through a court appointment or the support of a patron. Mozart may have been one of the first composers to try his hand as a freelance composer but the composers of the 19th century really established this as a trade. Public performance was growing in popularity so composers were no longer only writing music for royal courts and the events that took place within. Operas were also being increasingly performed as ticketed events rather than just a gathering place for the nobility.
  • 4. INDEX $ 6+257 5(9,(: 21 7+ (1785 20326,7,21$/ 67/(6 )2506 ,167580(17$/ 67/(6 )2506 +$0%(5 3,$12 086, 603+21 352*5$0 086, 92$/ 67/(6 )2506 3(5,2' ,167580(176 20326(56 21/86,216 %,%/,2*5$3+
  • 5. A SHORT REVIEW ON 19TH CENTURY 7KH WK FHQWXU ZDV VFDQGDOL]HG ZKHQ 1DWXUDOLVW 'DUZLQ LPSOLHG WKDW KXPDQV ZHUH GHVFHQGDQW IURP SULPDWHV PXFK DV LQ WKH WK FHQWXU ZKHQ )UHXG ZRXOG LPSO WKDW DOO RI KXPDQ EHKDYLRXU ZDV PRWLYDWHG E VH[XDO XUJHV
  • 6. A SHORT REVIEW ON 19TH CENTURY 7KH KLVWRU RI OLWHUDF JRHV EDFN VHYHUDO WKRXVDQG HDUV EXW EHIRUH WKH LQGXVWULDO UHYROXWLRQ ILQDOO PDGH FKHDS SDSHU DQG FKHDS ERRNV DYDLODEOH WR DOO FODVVHV LQ LQGXVWULDOL]HG FRXQWULHV LQ WKH PLGQLQHWHHQWK FHQWXU RQO D VPDOO SHUFHQWDJH RI WKH SRSXODWLRQ LQ WKHVH FRXQWULHV ZHUH OLWHUDWH 8S XQWLO WKDW SRLQW PDWHULDOV DVVRFLDWHG ZLWK OLWHUDF ZHUH SURKLELWLYHO H[SHQVLYH IRU SHRSOH RWKHU WKDQ ZHDOWK LQGLYLGXDOV DQG LQVWLWXWLRQV
  • 7. A SHORT REVIEW ON 19TH CENTURY 7RZDUG WKH HQG RI WKH WK FHQWXU SDLQWHUV DQG FULWLFV EHJDQ WR UHEHO DJDLQVW WKH PDQ UXOHV RI WKH $FDG«PLH IUDQ©DLVH LQFOXGLQJ WKH SUHIHUHQFH IRU KLVWRU SDLQWLQJ 1HZ DUWLVWLF PRYHPHQWV LQFOXGHG WKH 5HDOLVWV DQG ,PSUHVVLRQLVWV ZKLFK HDFK VRXJKW WR GHSLFW WKH SUHVHQW PRPHQW DQG GDLO OLIH DV REVHUYHG E WKH HH DQG XQDWWDWFKHG IURP KLVWRULFDO VLJQLILFDQFH WKH 5HDOLVWV RIWHQ FKRRVLQJ JHQUH SDLQWLQJ DQG VWLOOOLIH ZKLOH WKH ,PSUHVVLRQLVWV ZRXOG PRVW RIWHQ IRFXV RQ ODQGVFDSHV 7KH KLVWRU SDLQWLQJ JDLQHG OHVV IDYRU WKURXJK WKH YRJXH LQ (XURSH IRU -DSDQHVH FXOWXUH DQG DUW LQ WKH IRUP RI -DSRQLVP LQ -DSDQ VLJQLILFDQW LPSRUWDQFH ZDV SODFHG XSRQ LWHPV VXFK DV ODTXHUZDUH DQG SRUFHODLQ
  • 8. COMPOSITIONAL STYLES FORMS The 19th century was marked by a number of distinctive compositional styles and forms. Many of these began during the Classical period but major revisions and new standards were applied by the composers of the Romantic era. The emerging aesthetics of the period remain popular and are adhered to by many modern composers. The symphony and opera are two excellent examples of this and they are examined in the following two sections respectively: •Instrumental Styles and Forms •Vocal Styles and Forms
  • 9. INSTRUMENTAL STYLES FORMS Instrumental music styles of the 19th century varied from short to lengthy works written for single instruments or large orchestras. These pieces can be categorized as either absolute or program music. Although there is an abundance of instrumental music styles and forms common to the period, chamber and piano music, the symphony, and program music are distinctively 19th century.
  • 10. CHAMBER PIANO MUSIC Chamber music, as its name implies, is a work written for a small ensemble (generally from one to five players) well suited to performances in mid-sized rooms or chambers. Composers had been writing for string quartets for some time but with the larger diversity of instruments, quintets became common as did music for small ensembles of wind instruments. As the piano gained in popularity it was added to these sting and wind ensembles, often as a featured instrument. Many concertos and sonatas were written for the piano as it became a symbol of gentility. Franz List and Frederic Chopin were two of the best known piano virtuoso's of the day.
  •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
  • 12. PROGRAM MUSIC RPSRVHUV VXFK DV +HFWRU %HUOLR] WRRN VPSKRQLF ZULWLQJ LQ DQRWKHU GLUHFWLRQ +LV 6PSKRQLH )DQWDVWLTXH UHVHPEOHG D VPSKRQ EXW ZDV GULYHQ E D VWRU SXQFWXDWHG E DQ LG«H IL[H 7KLV LGHD RI D QDUUDWLYH GULYHQ VPSKRQ ZDV WDNHQ IXUWKHU E %HGULFK 6PHWDQD DQG )UDQ] /LV]W ZLWK WKH 6PSKRQLF RU 7RQH 3RHP 7KLV IRUP WRWDOO DEDQGRQHG WKH IRXU PRYHPHQW VWUXFWXUH RI WKH VPSKRQ PHUJLQJ DOO WKH VHFWLRQV LQWR RQH 6PHWDQD V 0D 9ODVW FRQVLVWV RI GLIIHUHQW VHFWLRQV WKDW DUH LQVSLUHG E VHYHUDO DUHDV RI KLV KRPH RXQWU 9ODVW ]HFKRVORYDNLD
  • 13. VOCAL STYLES FORMS *HUPDQ /LHG /LHG RU OLHGHU SOXUDO LV WKH *HUPDQ ZRUG IRU VRQJ ZKLFK LV HVVHQWLDOO ZKDW WKLV PXVLFDO IRUP LV 7KH HDUOLHVW OLHGHU IHDWXUH D VLPSOLVWLF IRON OLNH PHORG PRVW RIWHQ ZLWK WH[W 1LQHWHHQWK FHQWXU OLHGHU DUH QRWHG IRU WKHUH OXVK DQG RIWHQ GDUN VHWWLQJV RI JHUPDQ SRHWU WR PXVLF ,Q WKLV VWOH PXVLF DQG ZRUG DUH FRQVLGHUHG DV RQH )UDQ] 6FKXEHUW LV RQH RI WKH EHVW NQRZQ FRPSRVHUV RI OLHGHU WKH WRWDO +LV VHWWLQJV RI *RHWKH V WH[WV DUH SUREDEO VRPH RI WKH EHVW NQRZQ RI WKHVH 7KH SRVWHU WR WKH ULJKW VKRZV D WUDQVODWHG VQLSSHW IURP *RHWKH V (UONRQLJ 2K IDWKHU P IDWKHU WLJKWHQ RXU KROG 7KH (UONLQJ KDV JRW PH +LV ILQJHUV DUH FROG
  • 14. VOCAL STYLES FORMS 2SHUD 7KH IRUP RI RSHUD EHJDQ VRPHWLPH GXULQJ WKH WK FHQWXU DV DQ DPDOJDPDWLRQ RI VHYHUDO DUW IRUPV OLWHUDWXUH WKHDWUH GDQFH PXVLF DV ZHOO DV FRVWXPH DQG VHW GHVLJQ % WKH WK FHQWXU RSHUD KDG D QHZ SODFH DPRQJ WKH JUHDWHU SRSXORXV 3UREDEO WKH WZR PRVW LPSRUWDQW VWOHV RI RSHUD GXULQJ WKLV SHULRG DUH )UHQFK DQG *HUPDQ 7KH )UHQFK JUDQG RSHUDV DUH GLVWLQJXLVKHG E WKHLU SORWV ILOOHG ZLWK HPRWLRQ DQG D QXPEHU RI OLYHO FKRUXVHV 7KH FRPSRVHU 0DHUEHHU ZDV HVSHFLDOO SUROLILF LQ WKLV VWOH RI RSHUD :DJQHU DOZDV KHOG D FHUWDLQ DPRXQW RI UHVHQWPHQW WRZDUGV WKH VXFFHVV RI KLP DQG RI WKHVH )UHQFK RSHUDV ZKLFK KH EHOLHYHG WR EH WULYLDO 7KH *HUPDQ VWOH EURXJKW DQ HOHPHQW RI PDJLF DQG PWK LQWR WKH RSHUD KRXVHV :RUNV RI DUO 0DULD YRQ :HEHU DQG 5LFKDUG :DJQHU DUH WKH EHVW NQRZQ H[DPSOHV RI WKLV :DJQHU V RSHUDV DUH RIWHQ UHIHUUHG WR DV PXVLFDO GUDPDV DV WKH VWULNH D EDODQFH EHWZHHQ WKH WH[W RU GUDPD DQG WKH PXVLF +H FRLQHG WKH WHUP *HVDPWNXQVWZHUN WR GHVFULEH WKLV EDODQFH +LV XVH RI OHLWPRWLIV DOVR PDUNHG D UHYROXWLRQDU LQQRYDWLRQ LQ FRPSRVLWLRQ WHFKQLTXH
  • 15. PERIOD INSTRUMENTS The 19th Century was an important period of development for a number of orchestral instruments. This was partly driven by the advance of industry and its impact on the craft of instrument making. The popularity of solo performance and the incredible skill of the musicians and composers also pushed the limits of instruments throughout the period.
  • 16. PERIOD INSTRUMENTS (THE FRENCH HORN) %DFNJURXQG $IWHU LWV LQWURGXFWLRQ LQWR RUFKHVWUDO PXVLF LQ WKH V WKH IUHQFK KRUQ JDLQHG SRSXODULW ZLWK FRPSRVHUV DV D VROR LQVWUXPHQW DV ZHOO 7KHVH HDUO KRUQV GLG QRW KDYH YDOYHV VR WKH RQO QRWHV WKH LQVWUXPHQW FRXOG SURGXFH DUH WKRVH LQ LWV QDWXUDO KDUPRQLF VFDOH 3HUIRUPHUV ZRXOG YDU WKH SRVLWLRQ RI WKH KDQG LQ WKH EHOO WR ILOO LQ WKH UHPDLQLQJ QRWHV RI WKH VFDOH URRNV D UHPRYDEOH OHQJWK RI WXELQJ ZHUH LQYHQWHG LQ WKH V WR FKDQJH WKH RYHUDOO SLWFK RU NH RI WKH LQVWUXPHQW
  • 17. PERIOD INSTRUMENTS (THE FRENCH HORN) 9DOYHV 7KH HDUO WK HQWXU VDZ WKH LQWURGXFWLRQ RI YDOYHV RQ WKH IUHQFK KRUQ 7KH ILUVW LQFDUQDWLRQ RI YDOYHV RQ WKH IUHQFK KRUQ ZHUH D SLVWRQ WSH GHYHORSHG LQ E +HLQULFK 6W¸O]HO DQG )ULHGULFK %O¾PHO 6RPH HDUV ODWHU WKH URWDU YDOYH ZDV LQYHQWHG E -RVHSK 5LHGO LQ 9LHQQD 2YHU WKH FRXUVH RI WKH FHQWXU WKH YDOYHG KRUQ UHSODFHG QDWXUDO KRUQV LQ WKH FRQFHUW KDOOV 7KH URWDU YDOYH GHVLJQ ZDV VORZHU WR GHYHORS EXW LW EHFDPH WKH YDOYH RI FKRLFH E WKH HQG RI WKH FHQWXU
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