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A transitional German Romantic composer that held a love for Mozart and classical music study. His style was unique and highlighted the Romantic era with complicated harmonies.

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The romantic period was very much a time of writing pieces in reflection of the composers' heart (emotions) rather than their minds. Post-romanticism takes this way of life and evolves it. It’s what the composer feels times ten because the need for musical structure, here, is decaying more obviously. It really is the artists sound, raw and uninhibited.

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A proud Austrian-German composer that uses the folktales and cultural influence of his upbringing stand out in his work during a time of Nazi power.

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During this time there was a blast of all different kinds of musical forms. There were of course operas and symphonies, but there was a rise in ballet performances and poems being adapted to be shown as ballots.

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An Italian, transitional, opera composer, best known for operas written in realism and almost always involving death.

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The single greatest representation of Russian Romanticism. He always incorporated a somber Slavic melody into his pieces

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The greatest impressionist composer of his time- melody and harmony are the upmost important elements of his works. He takes notes form almost every era by traveling frequently and incorporating whole-tone, pentatonic, and modal scales.

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Impressionism & Symbolism/ The Anti-Romantic Movement 

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Impressionism & Symbolism/ The Anti-Romantic Movement 

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Although it was flourishing amongst its own particular community, German Romanticism was not well liked at all and was especially rejected in Paris. 1860’s France started full-on movement against Romanticism. Writers and painters were also expressing their discontent with the Romantic period, but by straying further and further from realism and only presenting their personal idea of an object.

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As political and social climate grew, Stravinsky ended up leaving his native country to live in Paris. During his composing career he held strong to his Russian sound and contributed greatly to the ballet scene.

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During the 1860’s Anti-Romantic movement, painters were attempting to display a personalized sense of realism by using techniques that weren’t so realistic. There were less definitive brush strokes and aspects of paintings were not clearly one thing (though when viewing the full piece, one could figure out the idea). The soft and delicate brushwork of the Japanese at the time were a big inspiration to the French art community at the time. Their way of portraying mist, haze, smoke, and moisture in their work was something to be admired.

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Often compared to Debussy because of how similar their techniques are for music. Both composers created works that were a prime example of Impressionism in music, but there was a difference between the two that is noteworthy. Ravel’s techniques were more precise and gave more emphasis to rhythm.

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Debussy was labeled as the first official Impressionist composer but he in fact was totally against the term.

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The ‘American impressionist’- his works were influenced by French sounds but not as entirely as other composers.

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He grew up surrounded by Austrian-German tradition and being inspired by Wagner, Brahms, and Richard Strauss. After converting for Judaism to Catholic faith, grew to despise his birth country. He created many nontonal works that were the peak of expressionism in the 20th century.

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This sub era was full of color and in a way holds a bit of romanticism in it. It’s a glossy, ideal longing for a different time, in a different place when the rules and pageantry of now simply aren't there.

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Grew up in a rather unconventional environment with a father who was a bandmaster during the Civil War. His father had long been teaching him things like how to sing at one tone and play an instrument in another tone, complimentary to his voice. This helped him gain a leg up in polytonality.

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The early twentieth century was booming in the industrial industry. Machines and factories were coming to the forefront so many were depending on jobs in the city to support their families. Many made a large move from the peaceful country to busy and unfamiliar cities. Everyone was affected by this economical shift, especially artists and musicians and writers. Although it was nerve wracking, there was also new opportunity, and many began to act on impulse.

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Growing up poor, Cowell hadn’t had all the same opportunities as other composers. He grew an appreciation and admiration for Chinese opera and modal church music in his early days and after moving from California to the Midwest, he started preforming original pieces on the piano by 15.

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A famous psychology of the time period who examined the inner workings of the mind through dreams and impulses of his patients. As we know by observing the art and literature of this time, impulses play a large role and have been a topic of interest to most.

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Highly influential due to his use of electronics and synthesizers in his compositions and a strong advocate for surrealism and spearheaded the movement.

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Jazz really was the sound and art of the roaring twenties. It opened up new opportunities for the African American community, giving them a way to express themselves through a new sound and new ways of art.

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Traditional form and chord structures were set aside so that musicians could improvise independently from the other members of their set. The result of this, at times, will be a new techniques discovered by concert musicians

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This technique combined concert instrumentation with jazz improvisation, and when done right, will equally represent both sides and compliment the other.

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A musician and composer thriving during the Harlem Renaissance. Still was mixed but identified more so with the African American culture surrounding him. He played violin, cello, and oboe in theaters and nightclubs. What makes Still such an important figure for jazz is that he was a gifted classical composer and the first African American to have a symphony performed by a major orchestra. He was important in the sense that he contributed to Jazz culture and more so African American culture rather than jazz music specifically.

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This was a strong movement in the artistic and literary scene of African Americans during the late 20’s to 30’s. Painters, sculptors, poets, playwrights, musicians, novelists, essayists- all collectively abandoning the conventional ways of their craft to advocate for African American advancement.

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During the 1950’s, jazz music played a big role in important films of the time. Titles like A Streetcar Named Desire (Alex North, 1951), The Man with the Golden Arm (Elmer Bernstein, 1955), Elevator to the Gallows (Miles Davis, 1957), and Anatomy of a Murder (Duke Ellington, 1959).

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Here I am not so much saying that each form of music and art are complete opposites but saying how they are so different and unique. Primitive for example a simple aesthetic that recreates more primitive settings and or times. It shows the beauty and idealism in a world far away in time where the politics and economy and social climate of the time never existed. It can, in a way, be classified as a product of Romanticism. In the self over all bullet, under Post-romanticism, I explain how artists and authors of the time started to do away with the tonal structure and harmonic rules of those before them. They aren’t so much saying, “Explain how I feel emotionally through this medium” but instead are stretching that independent muscle that says “While what I am dong is unconventional, I trust what I am doing and feel that this is the right path”. I feel like these two bullets are good to put against one another because one is longing for a past that does not exist the way they thought it did and the latter is taking hold of what they have now.

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Here we have Schoenberg and Mahler, two composers who grew up with heavy Austrian-German traditions and morals. I did not choose these two composers because one participated during the Twentieth Century era and the other the Post-romantic, although, that difference is important regarding their works. What I would like to take a look at is their background, their upbringing. As stated before, both men grew up proud Austrian-German's, but one did not stay that way. Mahler was proud of his heritage, much like many other composers, but this is especially important [I feel] because he was living during Nazi times. For him to hold true to himself and display it in his work as strongly and earnestly as he did was important and probably represented hope for many Jewish and German citizens. Schoenberg on the other hand went in the complete opposite direction, going as far as to denounce his Jewish faith and practice Catholicism. He despised his upbringing and did not display it in his works after this point in his life.