|
UPSI Digital Repository (UDRep)
|
|
| ||||||||||||||||||||||||
| Abstract : Universiti Pendidikan Sultan Idris |
| Artistic freedom, the influence of the French revolution and the massive development of musicology had a significant influence on the variety and diversity of compositional forms in the Romantic era. However, many features of the performance style in romantic period require a deeper understanding, especially related to expression features from performer’s perspective. This article examines a number of aspects that correlate with the style of performance in the romantic era. There are three objectives in this article. The first is to correlate compositional works in the romantic era that illustrate the symbiotic relationship between artistic forms and non-musical ideas, especially socio-political sentiments. The second is to review the role of musicology and philosophical perspective in building a structure of knowledge in music performance. The third is to characterize the performance style in romantic era. The methodology of this research is carried out based on a literature study. This article is part of an ongoing research with the title Artistic research: Characterization my classical guitar method based on two selected repertoires. Through this article, it is hoped that the understanding of the influence of musical and extra-musical aspects on the romantic era's performance style can be clarified.
Keyword: History of Romantic Era, Performance Style, French Revolution Influence. |
| References |
Beard, D., & Gloag, K. (2016). Musicology: The key concepts. Routledge. Bent, I., & Drabkin, W. (1987). Analysis (New Grove Handbooks in Music). Palgrave Macmillan. Bonds, M. E. (2013). History of music in Western culture. Pearson. Bonds, M. E. (2017). Absolute music: The history of an idea. Oxford University Press. Borisovich, L. A., & Anatolevich, K. V. (2016). Schopenhauer's philosophy of music as breakthrough from the world of rationality. International journal of humanities and social sciences, 1, 725-730. Bowen, J. A. (1993), 'The Origins of the Ideology of Authenticity in Interpretation: Mendelssohn, Berlioz and Wagner as Conductors', a revised version of 'Mendelssohn Berlioz, and Wagner as Conductors: The Origins of the Ideal of"Fidelity to the Composer'", Performance Practice Review, 6, pp. 77-88 [237-52] Breuer, B. (2011). The Birth of musicology from the spirit of evolution: Ernst Haeckel's entwicklung lehrer as central component of Guido Adler's methodology for musicology. University of Pittsburgh. Brown, C. (2002). Classical and romantic performing practice 1750-1900. Oxford University Press. Burkholder, J. P., Grout, D. J., & Palisca, C. V. (2019). A history of western music. W. W. Norton & Company. Christensen, T. (1993). Rameau and Musical Thought in the Enlightenment. Cambridge: Cambridge University Press. Cook, N. (1992). A guide to musical analysis. W. W. Norton. Duckles, V (1980) ‘Musicology’, The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (ed). Grove’s Dictionaries of Music. London: Macmillan Publishers; Washington D.C. Frisch, W. (2013). Music in the Nineteenth Century. W.W. Norton. Goehr, L. (1992). The imaginary museum of musical works: An essay in the philosophy of music. Oxford University Press. Gołąb Maciej. (2014). Twelve studies in Chopin: Style, aesthetics, and reception. Peter Lang Publishing Group. Grant, R. M. (2013). Leonhard Euler's unfinished theory of Rhythm. Journal of Music Theory, 57(2), 245–286. https://doi.org/10.1215/00222909-2323479 Grove, G. (1896). Beethoven and his nine symphonies. London, Novello and company, Limited. Haynes, B. (2007). The end of early Music: A Period Performer's history of music for the twenty-first century. Oxford University Press. Hanslick, E., & Rothfarb, L. A. (2018). Eduard Hanslick's on the musically beautiful: A new translation. Oxford University Press. Huneker, J. (1966). Chopin, the man and his music: With New Introduction., footnotes and index by Herbert Weinstock. Dover. Marvin, U. B. (2007). Ernst Florens Friedrich Chladni (1756-1827) and the origins of modern meteorite research. Meteoritics & Planetary Science, 42(S9). https://doi.org/10.1111/j.1945-5100.2007.tb00606.x Maxham, R. E. (1976). The contributions of Joseph Sauveur (1653-1716) to acoustics. Kamien, R. (2014). Music: An appreciation. McGraw-Hill Education. Karnes, K. C. (2016). Music, criticism, and the challenge of history: Shaping modern musical thought in late nineteenth-century Vienna. Oxford University Press. Kerman, J. (1985). Contemplating music challenges to musicology. Harvard University Press. Kinderman, W. (2020). Beethoven: A political artist in revolutionary times. The University of Chicago Press. Kravitt, E. F. (1973), 'Tempo as an Expressive Element in the Late Romantic Lied', Musical Quarterly, 59, pp. 497-518. Kursell, J. (2015). A third note: Helmholtz, Palestrina, and the early history of musicology. Isis, 106(2), 353–366. https://doi.org/10.1086/682003 Martin, S. (2002), 'The Case of Compensating Rubato', Journal of the Royal Musical Association, 127, pp. 95-129. Mckee, E. (2017). Dance and the music of Chopin: The Polonaise. In Bellman, J., & Goldberg, H. (ed.). Chopin and his world. Princeton University Press. (pp.187-230). Parncutt, R. (2007). Systematic Musicology and the History and Future of Western Musical Scholarship. Journal of interdisciplinary music studies spring, Vol.1, 1, 1-32. Rosen, C. (1971). The classical style Haydn, Mozart, Beethoven. Faber and Faber. Salop, A. (1965). Intensity as a distinction between classical and romantic music. The Journal of Aesthetics and Art Criticism, 23(3), 359. https://doi.org/10.2307/428182 Sipe, T. (1998). Beethoven: Eroica symphony. Cambridge Music Handbooks. Cambridge University Press. Samson, J. (2007). The Cambridge Companion to Chopin. Cambridge University Press. Samson, J. (2014). The Cambridge History of nineteenth-Century music. Cambridge University Press. Taruskin, R. (1997). Text and act: Essays on music and performance. Oxford University Press. Thomas, A. (2007). Beyond the dance. In Samson, J. (ed.). The Cambridge Companion to Chopin. Cambridge University Press. (pp.145-159). Schmalfeldt, J. (2011). In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music. Oxford: Oxford University Press. Schopenhauer, A. (1906). World as will & idea. Kegan Paul. Stevens, D. (1980). Musicology: a practical guide. London: Macdonald Futura. Yoshida, H. (2001). Eduard Hanslick and the idea of public in musical culture: Towards a socio-political context of formalistic aesthetics. International Review of the Aesthetics and Sociology of Music, 32(2), 179. https://doi.org/10.2307/1562266 |
| This material may be protected under Copyright Act which governs the making of photocopies or reproductions of copyrighted materials. You may use the digitized material for private study, scholarship, or research. |