CH 16 Part 3 STUDY GUIDE

Romantic treatment of tone color included

• combining and blending different instrumental tone colors in innovative ways.

• keeping the sections of the orchestra distinct and clear.

• giving the brass section the melody most of the time.

• using more flexible instrumentation in orchestral scores; parts could be played by a variety of instruments.

Compared to the Classical orchestra, the typical Romantic orchestra was

• larger but had fewer different kinds of instruments.

• larger and blended tone colors in new ways.

• larger but had more instruments, such as the piano, in the continuo section.

• smaller but had new stringed instruments.

Music without singing but derived from a poem, story, or other literary source is called

• Gesamtkunstwerk.

• a Romantic symphony.

• thematic transformation.

• program music.

Romantic treatment of form was

• exact.

• close to that of the Classical era.

• free and spontaneous.

• innovative but highly structured.

Miniatures were usually written for

• the orchestra.

• voice and piano, or piano alone.

• string quartets.

• small opera companies.

Miniatures were generally heard

• as separate compositions.

• as the third movement of a Romantic multimovement work.

• as part of a sonata.

• between opera acts or scenes.

Compared to earlier compositions, Romantic grandiose compositions had

• more narrated sections.

• more movements and increased length of the piece

• small forms linked together.

• more adherence to strict formal structures.

The technique of having the same theme fragment reappear with some sort of variation at loosely recurring intervals

• thematic transformation.

• theme and variations form.

• program music.

• rondo variation form.

Thematic unity occurs

• within only one movement at a time.

• when a composer uses the same themes in all the movements of a work.

• mostly in theme and variations form.

• only in the recapitulation section of sonata form.

The quality most prized by Romantic artists was

• conformity to musical forms and genres set up in the Classical era.

• dislike for the Middle Ages.

• the integrity of the expression of individual feeling.

• the ability to cross over into artistic areas other than one’s own.