Nationalist composers of marginalized or subjugated regions of Europe emphasized their unique cultural identities by

employing native folk melodic and other cultural signifiers in their music.

A central problem for nineteenth-century composers like Horatio Parker, George Chadwick, and Edward MacDowell was how to

synthesize their European-style training with indigenous musical styles.

Liszt, Brahms, and Bruckner each believed that

Beethoven’s symphonies offered a paradigm for their own techniques.

E.T.A. Hoffmann regarded music as an ideal art because

it was free from the finite concreteness of language and the material world

Wagner’s The Artwork of the Future and Opera and Drama are historically important documents mainly because of

their explanation of poetic/musical techniques of a new kind of music drama

By 1850, Europe’s musical culture had changed such that

an unprecedented variety of historical/modern repertoire was available.

A distinguishing feature of early 19th-century German operas such as Carl Maria von Weber’s Der Freischütz was their

integration of folk or folklike melodies

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The Nineteenth Century: The Age of Romanticism

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Questions pertaining to music from the 19th century. Barbara Russano Hanning. Concise History of Western Music. 5th ed., Anthology Update. New York: W.W. Norton and Co., 2019.

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Questions 12

Answers

1
In the 19th century, upper-class women were generally discouraged from pursuing professional musical careers.
True
False
2
By the 1830s, opera in Italy and France had become an elite, exclusive genre, divorced from the market for popular music
True
False
3
Romanticism in the late 18th and early 19th centuries arose affirming the rationalist ideals of the Enlightenment.
True
False
4
Nationalist composers of marginalized or subjugated regions of Europe emphasized their unique cultural identities by
abandoning Classical and Romantic musical idioms
parodying the conventions of the classical tradition.
replacing German and French texts of vocal works with translations.
employing native folk melodic and other cultural signifiers in their music.
5
A central problem for nineteenth-century composers like Horatio Parker, George Chadwick, and Edward MacDowell was how to
synthesize their European-style training with indigenous musical styles.
gain entry for their music in the academic circles that had excluded them.
integrate jazz elements into their concert works.
prevent indigenous popular music from contaminating American art music
6
Robert Schumann's style emphasizes stark contrasts of musical patterns over the development of a single pervasive idea.
True
False
7
Liszt, Brahms, and Bruckner each believed that
Beethoven’s symphonies offered a paradigm for their own techniques.
a chromatic harmonic idiom was necessary for composing modern music.
thematic transformation should displace traditional counterpoint techniques
the four-movement Classical symphony was the ideal orchestral genre.
8
E.T.A. Hoffmann regarded music as an ideal art because
it was free from the finite concreteness of language and the material world
philosophers since the ancient Greeks claimed music to be the supreme art.
it was uniquely capable of augmenting the expressive power of poetry.
it unfolded temporally and was therefore an allegory of human existence.
9
Wagner’s The Artwork of the Future and Opera and Drama are historically important documents mainly because of
protesting against contaminating pure music by integration with other arts.
their shocking racial claims.
their promotion of contemporary instrumental music.
their explanation of poetic/musical techniques of a new kind of music drama
10
By 1850, Europe’s musical culture had changed such that
an unprecedented variety of historical/modern repertoire was available.
program music was regarded as old-fashioned and obsolete.
amateur music-making sharply declined.
composers abandoned old styles/techniques for constant innovation demanded.
11
A distinguishing feature of early 19th-century German operas such as Carl Maria von Weber’s Der Freischütz was their
xenophobic elimination of foreign—especially French—musical elements.
cutting-edge treatment of contemporary political and social subject matter.
emphasis on lyrical and coloratura techniques and subordinate orchestra.
integration of folk or folklike melodies
12
In the 1820s and 1830s, Mendelssohn played a pivotal role in reviving the vocal music of
Joseph Haydn.
Ludwig van Beethoven.
J.S. Bach.
Giovanni Pierluigi da Palestrina.

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