Music History 2.3

The typical composer and musician of the Romantic era was financially supported by the:

Performers such as Paganini were expected to:
specialize on one instrument

In the mid-nineteenth century, the following instrument became the center of music making in the home:

For most women during the nineteenth century, music was an accomplishment meant to:
entertain family and friends

The new musical idiom of the early nineteenth century was largely influenced by:
a rise in amateur music-aking and the corresponding need for accessible and appealing compositions

According to E. T. A. Hoffman and other nineteenth-century writers, the ideal romantic art was:
instrumental music

of the three distinctions of instrumental music formulated during the Romantic era, the following is the only one that was a new concept in the nineteenth century:

The following writer suggested an organic approach to composition, arguing that a composition would be unified if all its parts were derived from a common source, just as all the parts of a plant are adaptations of the same basic shape
Johann Wolfgang von Goethe

The most influential and prestigious repertoir of nineteenth century song was the:
German Lied

In the late eighteenth century, German poets cultivated the following poetic form, resulting in an expansion of both the form and emotional content of German song:

The following composer introduced the concept of a song cycle in which all songs are performed in order as movements of a larger vocal work
Ludwig van Beethoven

The following composer wrote over six hundred Lieder, many of which were performed by friends
Franz Schubert

The following compositional method best describes Schubert’s approach to writing Lieder
Melody, accompaniment, harmony, and form were believed to be equal to the words and were sought to embody the person speaking or characters described, the scene, the situation, and the emotions expressed.

The following song cycle by Schubert is based on twenty-four poems by Wilhelm Muller that express a lover’s nostalgia when revisiting the haunts of a failed summer romance in the winter:

The following composer and music critic founded and served as the editor of the Leipzig Neue Zeitschrift fur Music
Robert Schumann

The following composer wrote over 120 songs in 1840, which he/she referred to as his/her “year of song”
Robert Schumann

The most famous drawing-room ballad and perhaps the best-known song of the nineteenth century was:
Home! Sweet home!

The following composer wrote almost exclusively for piano
Fryderyk Chopin

The invention of the nocturne is credited to:
John Field

The first American composer to earn a living solely as a composer was
Stephen Foster

The following composer’s Seven Character Pieces, published in 1727, helped to introduce the term and define the genre:
Felix Mendelssohn

Das Jahr, a series of character pieces on the twelve months inspired by an extended trip to Italy, was composed by:
Felix Mendelssohn

The majority of Robert Schumann’s keyboard compositions are:
Character pieces

The concert Etude is credited to:
Fryderyk Chopin

The following composer and performer was the foremost piano virtuoso of his time
Franz Liszt

By the end of the nineteenth century, the standard orchestra had as many as:
ninety players

By the end of the nineteenth century, orchestras were typically led by
a conductor

The following composer and conductor introduced the technique of conducting with a baton
Louis Spohr

Throughout the nineteenth century, concert repertoire increasingly included:
music by composers of past generations

The following composer pioneered a new style of orchestral composition that maintained the outward form of the classical symphony while infusing it with content derived from the new romantic style developed in lieder and piano compositions
Franz Schubert

“Treatise on Instrumentation and Orchestration, often considered the bible on nineteenth-century orchestration, was penned by:
Hector Berlioz

Schubert’s first attempt at a large-scale symphonic work resulted in:
the “unfinished” symphony

In the following symphony, Schubert blends romantic lyricism and Beethovenian drama within an extended classical form
the “Great” symphony

The following composer was among the first to make a career of orchestral conducting:
Hector Berlioz

The following composition, subtitled “Episode in the Life of an Artist,” was accompanied during performance with an autobiographical program:
Symphonie Fantastique

Berlioz referred to the following composition as a “dramatic symphony”
Romeo et Juliette

The following composer captured the landscapes of his travels in the Italian and Scottish symphonies:
Felix Mendelssohm

The following year is considered Robert Schumann’s “symphony year”

The following composer is credited with concieving the symphony as an integrated, organically-unified cycle, rather than as a composition with four to five distinct movements:
Robert Schumann

Schubert’s late chamber works were conceived as
dramatic pieces of concert music

The following composition is often considered Schubert’s chamber music masterpiece:
String Quintet in C Major

The following chamber work, often recognized as Mendelssohn’s earliest masterpiece, is noted for its symphonic conception, independent treatment of all instruments, and demanding string techniques
Octet for Strings O20

The following year was considered Schumann’s ‘chamber music year’

In his critical writings, this composer argued that string quartets should resemble a four-way conversation:
Robert Schumann

The following composer is credited with introducing a new, more polyphonic approach to chamber music:
Robert Schumann

The following composition by Fanny Hansel was the only example of her chamber published during the nineteenth century:
Piano Trio in D Minor

The first choral festivals, beginning in 1759, typically centered on the music of which composer?
George Frideric Handel

The following oratorio was composed specifically for a choral festival

The following composer is credited with introducing a new style of Russian choral music, inspired by the modal charts of Orthodox liturgy:
Dmitri Bartnyansky

The following composer is credited with establishing the American tradition of music education in schools
Lowell Mason

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