Just as nationalism reflected a preoccupation with the composer’s own national heritage, exoticism was a Romantic fascination with music from other lands. An often cited example of this tendency was Rimsky Korsakov’s Scheherazade, depicting scenes from the Arabian Nights.
What is exoticism in romantic music?
Introduction. In much of the extensive literature on the subject, exoticism is considered a form of representation in which peoples, places, and cultural practices are depicted as foreign from the perspective of the composer and/or intended audience.
Was romanticism a polyphonic song?
The “Romantic” era (essentially the 19th century) favored long-lined melody, lavishly orchestrated, with a minimum of counterpoint (Schubert, Lizst, Wagner, Schumann), and yet Beethoven, Mendelssohn and Brahms excelled in fugues and organic, polyphonic composition, though with a “romantic” intensity, sweep and power.
How is nationalism used in Romantic music period?
Musical nationalism is the term used to describe art music that was created with the intention to promote nationalism or help inspire patriotic sentiments. There were three key ways that Romantic composers created nationalist music: overtly political music, patriotic music, and national music.
What does the term exoticism mean?
the quality of being unusual and exciting because of coming (or seeming to come) from far away, especially a tropical country: the exoticism of the East. SMART Vocabulary: related words and phrases.
Which of the following operas is an example of exoticism quizlet?
Puccini’s opera Madame Butterfly, with its Japanese melodies and pentatonic and whole-tone scales, is an example of exoticism.
What is the distinct melody of romantic music?
MELODY: Long, lyrical melodies with irregular phrases; Wide, somewhat angular skips; extensive use of chromaticism; vivid contrasts; a variety of melodic ideas within one movement. RHYTHM: Frequent changes in both tempo and time signatures.
What is an example of nationalism in romantic music?
Examples of musical nationalism abound in the output of the romantic era. The folk idiom is prominent in the Mazurkas of Chopin” (Machlis 1963, 149–50). His mazurkas and polonaises are particularly notable for their use of nationalistic rhythms.
What is nationalism in romantic music?
major reference. In Western music: Establishment of the Romantic idiom. Nationalism—the consciousness of the distinctive features of a nation and the intent to reveal, emphasize, and glorify those features—played a prominent part in Romantic music, partly as a result of social and political developments.
What is an example of primitivism music?
The painting of Paul Gauguin and Pablo Picasso and the music of Igor Stravinsky are frequently cited as the most prominent examples of primitivism in art. Stravinsky’s The Rite of Spring, is “primitivist” in so far as its programmatic subject is a pagan rite: a human sacrifice in pre-Christian Russia.
What is an example of exoticism in music?
Just as nationalism reflected a preoccupation with the composer’s own national heritage, exoticism was a Romantic fascination with music from other lands. An often cited example of this tendency was Rimsky Korsakov’s Scheherazade, depicting scenes from the Arabian Nights.
What is the difference between romantic exoticism and realistic exoticism?
Romantic exoticism portrays distant lands using musical elements, drawing these from the audience’s perceptions of the music represented. Realistic exoticism attempts to portray another music tradition as accurately as possible.
Is there a retreat from critical theory on musical exoticism?
Argues there has been a retreat from critical theory in recent writing on musical exoticism, taking Bellman 1998 to task for observing examples of musical Orientalism without evaluating them in political terms. Locke, Ralph P. Musical Exoticism: Images and Reflections.
What is exoticism in art?
Argues exoticism in compositions is an “accretion”—thus an ornament, or a distraction. Examples from 19th and early 20th centuries. Said, Edward W. Orientalism. New York: Pantheon, 1978.
