Music theorists have long believed that 19th-century triadic progressions idiomatically extend the diatonic syntax of 18th-century classical tonality, and have accordingly unified the two repertories under a single mode of representation. Post-structuralist musicologists have challenged this belief, advancing the view that many romantic triadic progressions exceed the reach of classical syntax and are mobilized as the result of a transgressive, anti-syntactic impulse. In Audacious Euphony, author Richard Cohn takes both of these views to task, arguing that romantic harmony operates under syntactic principles distinct from those that underlie classical tonality, but no less susceptible to systematic definition. Charting this alternative triadic syntax, Cohn reconceives what consonant triads are, and how they relate to one another. In doing so, he shows that major and minor triads have two distinct natures: one based on their acoustic properties, and the other on their ability to voice-lead smoothly to each other in the chromatic universe. Whereas their acoustic nature underlies the diatonic tonality of the classical tradition, their voice-leading properties are optimized by the pan-triadic progressions characteristic of the 19th century. Audacious Euphony develops a set of inter-related maps that organize intuitions about triadic proximity as seen through the lens of voice-leading proximity, using various geometries related to the 19th-century Tonnetz. This model leads to cogent analyses both of particular compositions and of historical trends across the long nineteenth century. Essential reading for music theorists, Audacious Euphony is also a valuable resource for music historians, performers and composers.

The present volume of the Norton History of Music is an attempt to characterize the Romantic movement through its center: music. My aim has been to show how the Romantic movement was manifested in music and how music affected the Romantic movement. - Foreword.

Free website with music available, to access see page 4.

Accompanied by a sound disc (digital; 4 3/4 in.) by the same name which is available in Multimedia : CD 6.

A survey of the development of romantic music includes analyses of the careers of composers such as Beethoven, Schubert, Schumann, Wagner, and Liszt

A Paperback Original. The author who has taught tens of thousands of people to love opera now introduces readers to the rich and soul-stirring world of classical music. For anyone who is aching to discover classical music, this comprehensive and accessible book is the ideal teacher. Writing in the clear and highly entertaining prose that made Opera 101 the standard text in its field, Fred Plotkin -- music expert, teacher, lecturer, and famous author -- presents classical music in a way that respects both the reader and the art form. In Classical Music 101: --The reader will discover how to become an expert listener, which is essential for learning to love classical music. --A thousand years of music are explored, with emphasis on great works in all styles. Significant composers will be profiled in depth, including Beethoven, Mozart, Bach, Tchaikovsky, Dvorak, and many more. --Important musicians, such as pianist Emanuel Ax, singer Marilyn Horne, and conductor James Levine, speak about their art in interviews. Classical Music 101, the newest addition to a highly successful series intended for readers who don't consider themselves dummies or idiots, will help the person drawn to the finer things in life (and readers who don't know how to approach them) discover the glories of music.

Robert Schumann (1810-56) is one of the most important and representative composers of the Romantic era. Here acclaimed biographer martin Geck tells the story of this multifaceted genius, set in the context of the political and social revolutions of his time.

One of a series examining the development of music in specific places during particular times. This volume looks at the development of music in the early Romantic era, 1789-1849, in Paris, Berlin, Dresden, Leipzig, London, Italy, the USA, Moscow, St Petersburg and Latin America.

Romantic Music: Sound and Syntax is the first study to examine the role played by qualities of sound in shaping Romantic musical form. By demonstrating the crucial interaction of sound and syntax in Romantic music, Leonard G. Ratner demonstrates the effectiveness of a new theoretical approach to musical analysis, incorporating sound as an analytical factor for the first time. The book is divided into 13 chapters. Chapter 1 surveys critical comments dealing with qualities of sound in the nineteenth century. Chapter 2 examines the continuity between Classic and Romantic texture and sound. Specific examples drawn from piano, orchestral, and chamber music literature are discussed in chapters 3-5. Chapter 6 explores the uses of harmonic color in the Romantic repertoire. Chapter 7 reviews the tradition of the period form in Western music and its continuity in Romantic music.

Review: "Written to stress the crosscurrent of ideas, this cultural encyclopedia provides clearly written and authoritative articles. Thoughts, themes, people, and nations that define the Romantic Era, as well as some frequently overlooked topics, receive their first encyclopedic treatments in 850 signed articles, with bibliographies and coverage of historical antecedents and lingering influences of romanticism. Even casual browsers will discover much to enjoy here."--"The Top 20 Reference Titles of the Year," American Libraries, May 2004.