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Topic: Musical neoromanticism

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	Neoromanticism (music) - Wikipedia, the free encyclopedia
		Neoromanticism in music was a trend in European classical music started in second half of 19th century in Germany.
		Among the most prominent composers of the neoromanticism are Franz Liszt, Richard Wagner, Anton Bruckner, Richard Strauss, Gustav Mahler and Hugo Wolf.
		In pop music, neoromanticism strongly influenced gothic music and the goth subculture.
	en.wikipedia.org /wiki/Neoromanticism_(music) (222 words)

	American Symphony Orchestra Dialogues & Extensions 2003-04
		His music of the 1980s, in its integration of chance elements and accessible expressivity, was an act of cultural solidarity with the Solidarity, movement as the composer confessed privately to many of his younger colleagues.
		But perhaps the most telling mark of greatness in his music is that when all of the political elements have been forgotten, his music, precisely because it was created to reach the hearts and minds of an audience, lends itself to the construction of meaning by all audiences from different times and nations.
		Music essentially always has specific and local origins, but the translation into extended, wordless musical forms permits music to emancipate itself from that which is bound by time.
	www.americansymphony.org /dialogues_extensions/season/dialogue_detail.cfm?ID=53&season=2005-2006 (2031 words)

	Lithuanian Music Information and Publishing Centre
		Thus Bajoras' music, like that of Balakauskas, is harmonious, not liable to extremes due to the composer's deep perception of the world and disciplined mind, his education and developed world outlook.
		This trait of Bajoras' music has remained one of the dearest, since it shows that his music is authentic to our land, while the ways of expressing this authenticity of our ancient European nation create yet another constituent part of artistic reality of Bajoras' music.
		The national character of Bajoras' music is not limited, it is not displayed; it is natural and sound, presented by a European intellectual in civilized means of serious contemporary music.
	www.mic.lt /articles_bajoras.htm (2474 words)

	The Composer's Voice
		Music and text in the First Symphony set the stage for Hartmann to write a symphonic essay that integrated political resistance in the form of aesthetic experimentalism.
		Hartmann was severely self-critical and as a result, the final versions of his music are tightly structured and unerringly well-paced, with magical and terrifying timbres.
		If neither of them succeeded in writing music that encouraged more goodness and perhaps even tolerance in listeners in their own time, they nevertheless wrote music which to this day retains the potential to inspire its listener to reflect and to resist evil.
	www.americansymphony.org /dialogues_extensions/96_97season/1st_concert/leon.cfm (1232 words)

	Music Guides - Ellopos Guide to Classical Music
		We don't have here the "geniuses of all ages", but musical indications of the European thought and feeling, an attempt of understanding them in a simple and immediate manner, which awaits for others' response and participation to be completed.
		Improvement of musical notation (notes acquire an analogical indication and 'mathematical' accuracy of duration.
		Stravinsky honored the past of music and proposed this attitude as a safeguard against confusion.
	www.ellopos.net /music/guides (1172 words)

	Classical Music Navigator: Glossary
		In music, a style associated with the first quarter of the 20th century that was introspective (delving into the psychological realm) but also: (1) consciously rejected representational forms, and (2) exploited dissonance, in the form of atonality.
		In music, it is principally associated with Debussy, whose music exhibits such characteristics as blurring of traditional formal structures, preference for modality, and the use of instruments for sake of timbre alone (instrumental 'color').
		Era in the history of Western music extending from c1825-c1910, and exemplified by the compositions of Berlioz, Chopin, Robert Schumann, Liszt, Wagner, Brahms, Tchaikovsky, and Mahler.
	www.wku.edu /~charles.smith/music/glossnew.htm (3386 words)

	[No title]
		In the musical examples something very similar happened, but this time in the context of what we must call "tonal space." In both cases, instances which could not be understood within any given "spatial" context seemed in some sense to violate a "grammatical" rule and were understood as meaningless.(10) ========================================================== 10.
		Since pitch class identity as a source of musical semiosis (see paragraph 0.5 of the Preface) is intimately bound up with the workings of the positive field, the disruption of the "vector arrows" of pitch class is a significant measure of the degree to which Webern has succeeded in establishing a negative field.(44) ========================================================== 42.
		As far as music is concerned, I find much of interest along these lines in Lawrence Kramer's work, particularly Music and Poetry, where, in the chapter "Generative Form"(46) he examines the relation between disruptive and integrative forces in both Beethoven and Wordsworth in truly dialectical terms.
	mto.societymusictheory.org /issues/mto.96.2.6/mto.96.2.6.grauer.art (12249 words)

	Commentary Magazine - Children of Chopin (Site not responding. Last check: 2007-11-03)
		...Still, though Polish musical life in the last half of the 19th century was undeniably provincial, the infrastructure necessary for the creation of a more sophisticated music was in fact being laid...
		...Perhaps most important of all, music, though national in origin, is a symbol the world over of man's higher strivings, his better nature, his struggle for that brotherhood of the spirit which is said to be the goal of a progressive internationalism...
		...The music for Harnasie was the most outgoing the composer had ever written, and pointed the way he might have gone had he remained in good health...
	www.commentarymagazine.com /Summaries/V72I6P72-1.htm (4671 words)

	[No title]
		UF: Notation, equitone (Music) BT: Musical notation term: Frame notation (Music) scope: A set, controlling framework, such as a box or rectangle, encloses a group of pitches which are to be played with a free or flexible interpretation.
		Music for the gift term: Proportional notation (Music) scope: Instead of expressing duration with symbols, durational proportions are transmuted into the graphic equivalent of notes spaced out horizontally along the staff according to their durations.
		The Thames and Hudson encyclopaedia of 20th-century music.
	library.music.indiana.edu /tech_s/mla/wgt2cm.txt (3372 words)

	UNC Charlotte Department of Music \| UNC Charlotte
		Designed to assist with the intellectual, musical, and social transition from high school to college by cultivating positive attitudes toward learning, increasing the involvement of students in departmental activities, providing an orientation to resources available to students, and developing habits that ultimately lead to success as a music major.
		Musical Structure and Style V. Prerequisite: MUSC 2231 or placement by the department.
		Musical, organizational, and administrative aspects of teaching junior and senior high school bands and orchestras.
	www.music.uncc.edu /courses.htm (1833 words)

	Program Notes
		Music that suggested the expressive individuality known from past tradition was derided as a “reactionary” obeisance to bourgeois values.
		He immersed himself in musical studies and was fortunate to be exposed to a healthy variety of teachers as he came into his own: Eugen Velte and Humphrey Searle in addition to Stockhausen and others.
		At times the music seems on the verge of being rent at the seams before the gravity of chords from the depths is thrust into the foreground.
	www.sfsymphony.org /templates/router.asp?callid=117&nodeid=3744 (1770 words)

	The Sound of Gurdjieff
		Although in the past few years various recordings of the music of G. I. Gurdjieff have been issued and are generally available, it may still surprise many who are aware of the Armenian-Greek teacher to learn that he was, in fact, the composer of an impressive number of musical works, mainly for the piano.
		While the earliest and crucially important phase of their collaboration was involved with music for the sacred dances—or Movements, a vital component of Gurdjieff’s method—the compositions included in a recently released four-record album, performed by de Hartmann himself, are not related to the Movements, but are pieces of absolute music, albeit with richly evocative titles.
		The harmonic underpinning (a Western adaptation, nonexistent in Eastern music) is mostly triadic or made of fourths or fifths, or else uses the familiar organ-point or drone.
	www.gurdjieff.org /rosenthal1.htm (1292 words)

	HDS - Members (Site not responding. Last check: 2007-11-03)
		These pieces are characterised by their simplicity and transparency of form while, at the same time, they make full use of the technical possibilities of the instruments as well as providing an abundance of sound colours.
		The more modern musical expression of his work is reflected in his application of dodecaphony, aleatory music or minimal music in such pieces as Study for Clarinet and Strings, Cantus for French Horn and Strings, Moments Musicaux, 4 Haikus and Mood for String Quartet.
		The neoromantic exuberance of his early works was substituted by a simpler musical rendering and by conciseness and expression.
	www.hds.hr /pretrazivanje/clan_en.htm?CODE=1 (464 words)

	Commentary Magazine - Romantics' Return (Site not responding. Last check: 2007-11-03)
		...By the mid-60’s, though, his music had disappeared from the programs of America’s major orchestras, and for the rest of his life he devoted most of his energy to teaching and writing a series of theoretical works, dying in obscurity in 1985...
		...Neoromanticism, by contrast, has almost always been regarded with suspicion by critics, even though it has been embraced by at least as many composers as has neoclassicism...
		...For all these reasons, their music deserves to be heard, not merely on record but also in the concert halls and opera houses of America and, ultimately, the world...
	www.commentarymagazine.com /Summaries/V120I1P64-1.htm (2862 words)

	The Partial Observer - Responses to Classical Disconnect (Site not responding. Last check: 2007-11-03)
		With respect to music, from the beginnings in the 20th Century and until the present day, general music audiences have never more than tolerated "contemporary music" - perhaps because of their desire to keep up with the times, not be be seen as philistines, or their hope that something genuinely enjoyable would emerge.
		Although electronic music continued to attract a special following, “mainstream” composition now gravitated toward neoromanticism, minimalism, and other styles that were less openly cacophonic, and at times contained interesting sound combinations and instrumental devices, virtuosic passages, and crowd-pleasing closings.
		However, whereas their music continually builds conventional expectations and may contain creatively pleasing effects at times, they always veer away from any melodic, harmonic, l or rhythmic turns that would excite audiences and be immediately stigmatized by critics as pandering to popular taste.
	www.partialobserver.com /ArticleResponse.cfm?ArticleID=1325 (1154 words)

	Conservatory Backstage Pass: College Community Strings Perform
		While most of the material derives from folk music of the British Isles (the last movement juxtaposes two familiar tunes, 'Greensleeves' and the 'Dargason'), Holst's equally vital interest in the music of South Asia is evident in the Intermezzo.
		Giannini's music is nevertheless well-crafted, stylishly energetic, and emotionally intense.
		In addition to chamber music, choral works, solo concertos, and operas, he wrote several pieces for string orchestra, notably an impressive Concerto Grosso and the Prelude and Fugue in E minor.
	www.oberlin.edu /con/bkstage/199905/colcomstr.html (932 words)

	The Ensemble Sospeso - Ursula Oppens
		Her performances are marked by a powerful grasp of the composer's musical intentions and an equally powerful command of the keyboard.
		She was very committed to the European, and especially German, tradition of classical music, which means that I grew up with Bach and Haydn and Mozart and Schubert; but she had also studied with Anton Webern, so I played, for instance, the Berg Sonata around the age of seventeen.
		Sometimes, when I'm in my most optimistic frame of mind, I think that music, instead of being socially behind the rest of the world, might be socially a little bit ahead of it, in showing that one can be quite happy in a pluralistic society.
	www.sospeso.com /contents/articles/oppens_p1.html (875 words)

	djond.com main
		upon returning home in the evening, music was the last thing i wanted to deal with.
		on top of this, all the music i am interested in creating requires about $20k of new electronic equipment.
		the music overload has disappeared, as my new job is much less focused on music.
	home.mchsi.com /~j_downs/signal (232 words)

	Materials and Techniques of Twentieth-Century Music - PowerBookSearch!
		It covers music from the early 1900s through such movements as Minimalism and the Neoromanticism of the 1990's,...
		It covers music from the early 1900s through such movements as Minimalism and the Neoromanticism of the 1990's, and includes chapters on rhythm, form, electronic and computer music, and the roles of chance and choice in Twentieth-Century music.
		Unlike other books on this subject, this survey of 20th-century music is organized according to compositional methods and analytical techniques rather than historical movements.
	www.powerbooksearch.com /booksearch0139240772.html (559 words)

	UH -Top Education Stories - Opening concert has it both ways
		Classical/Neoclassical, the opening concert of the 2005 Texas Music Festival, was an engaging illustration of a basic instinct in art: having cake and eating it, too.
		Composers used essential musical traits of those historic periods to make (conservative) sense out of the riot-like expansion of melody, harmony and form in the last century.
		The music exploded from his strings, though the physicality of his playing produced too many extraneous sounds.
	www.uh.edu /ednews/2005/hc/200506/20050610uhtmfest.html (392 words)

	Ryan's World
		Giles to create a very interesting musical experience; the highlight of which, for me, was the evoking of moods and imagery greater than the sum of its musical parts.
		The music is accessible enough to inspire others to listen to something outside their normal box, but creatively intelligent enough to steer clear of being like everything else.
		Speaking extremely broadly, I think that the term "neoromanticism" could describe a trend that can be defined by the ability (and goal) of a work of art to evoke an idea, feeling, or place, greater than the sum of the musical (or otherwise) parts.
	ryansvestibule.blogspot.com (2955 words)

	All Things Strings: Reviews
		The disc concludes with "The Dreams and Prayers of Isaac the Blind," a piece for string quartet and klezmer clarinets (by Todd Palmer) that is an homage to a 12th-century kabbalist rabbi of Provence.
		It is a musical expression—reflecting joy and sorrow, laughter and tears—of a mystical Jewish belief in a constant state of communion in which human consciousness nurtures and renews itself through meditation.
		With his Hyperion XXI early music ensemble, Savall marks the 400th anniversary of William Lawes, widely regarded as the most important composer of English theater music before Henry Purcell.
	www.stringsmagazine.com /issues/strings105/reviews.html (1496 words)

	COURSE DESCRIPTIONS
		An introduction to major, minor diminished, augmented, 7th, 9th, 11th, and 13th chords and to their usage within the confines of a piece of music with particular attention to the melodic line.
		Study and application in the elementary school music class of the music teaching/movement methods and philosophies of Orff, Dalcroze, Laban, Gordon, and Kodaly.
		Music history and literature from the Romantic Era to the present.
	www.uncc.edu /schedule/subject/musc.html (650 words)

	The Ensemble Sospeso - Wolfgang Rihm
		Wolfgang Rihm is one of the important composers of his generation, and the “best-known representative of the young German musical movement of the ‘New Simplicity,’ perhaps better termed as neoromanticism or neoexpressionism” (Radio-France).
		One reason was, of course, that I was deeply attracted by the rites (I was Catholic), the incense, the singing, the music as such—above all the organ.
		It left me with the indelible impression of music which was highly organized and at the same time burst with expressive power.
	www.sospeso.com /contents/articles/rihm_p1.html (2697 words)

	Albert Gelpi on postmodern poetry
		But as the cantos proliferated, they could not be held in a single simultaneity of apprehension and revealed themselves instead as a life-poem which delineated its protagonist's convicted course through history and his own time and in which music increasingly alternated with painting as the analogue for poetic form.
		Eliot wrote the essay on "The Music of Poetry" as he was finishing Four Quartets to underscore the musicality of its verse forms and the fuguelike counterpoint of his meditation on time and history.
		Neoromanticism has to be a roomy rubric to admit the mystical Roethke and the skeptical Lowell, Rich the radical feminist and Everson the Dionysian Catholic, Duncan the occultist and Berry the agrarian.
	www.writing.upenn.edu /~afilreis/88/gelpi.html (5796 words)

	The New Yorker: The Critics: On Television (Site not responding. Last check: 2007-11-03)
		He was too busy with legs, which he was training to maximum speed and virtuosity (forget Russian deliberateness) and to a kind of musical responsiveness that would be the vehicle of meaning (forget Russian acting).
		Its music, by Fauré, is French, as was one of its original lead ballerinas, Violette Verdy.
		Its style is the neoromanticism (enchanted ballrooms, fated encounters) that was popular in Paris when Balanchine was working there, in the twenties and thirties.
	www.newyorker.com /critics/television/?020722crte_television (1780 words)

	Twentieth-Century Music
		These ideas are related to the twentieth-century musical techniques of _________ melodic contours, and the simultaneous use of contrasting __________ (polymeter), ______________ (polyrhythm), and _______________ (polytonality).
		Although it sounds much different than the music of Haydn and Mozart, music written using the ___________-______ technique, devised by Arnold Schoenberg early in the twentieth century, could be said to be _____________ rather than romantic because of its strong ties to mathematical and formal organizational guidelines.
		____________ _____________ (1898-1937) started his musical career as a pianist for a sheet-music publisher, followed by a stint as a composer of Broadway musicals. He combined jazz styles with art music, especially in his Rhapsody ___ ______. “Summertime” is one of the best-known songs from his folk-opera, ________ and ______.
	www.pbcc.cc.fl.us /faculty/gibbled/appreciation/20thcenturyguide.htm (742 words)

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