. "Wagner, Richard. 1995. Opera and Drama, translated by William Ashton Ellis. Lincoln: University of Nebraska Press. Originally published as volume 2 of Richard Wagner's Prose Works , a translation from Gesammelte Schriften und Dichtungen ."@en . "Musik romantik"@in . . . . . . . . . "Rummenh\u00F6ller, Peter. 1989. Romantik in der Musik: Analysen, Portraits, Reflexionen. Munich: Deutscher Taschenbuch Verlag; Kassel and New York: B\u00E4renreiter. ; ; ."@en . . . . . . . . "Musica romantica"@it . . . . "Erromantizismoko musika"@eu . . . . "Kiel muziko de la romantismo a\u016D romantikismo (de malnovfranca romance, poezia\u0135o, romano) oni nomas la dominan stiltendencon de la muziko de la 19-a jarcento. La plej gravaj ecoj de romantikisma muziko estas la emfazo de sentoplena esprimo, la dissolvo de la klasikaj formoj, la pliampleksigo de la tradicia harmoniko samkiel la asociado de la muziko kun ekstermuzikaj, ofte literaturaj ideoj (programmuziko). La orkestron oni \u0109iame pliampleksigis, por unuflanke atingi kolorecajn fajna\u0135ojn, aliflanke per uzado de \u0109iuj disponeblaj rimedoj ebligi pli kaj pli grandiozajn impresojn. Krome oni enprenis \u0109iam pli ofte elementojn de la popolmuziko, parte en la kadro de la realismo, parte ka\u016Dzitaj per la naciaj skoloj de malgrandaj landoj. Kutime oni distingas inter tri fazoj de la romantikismo, kvankam en la literaturo la ekzaktaj rilatoj ne estas unuecaj."@eo . . . . "\uB0AD\uB9CC\uC8FC\uC758 \uC74C\uC545"@ko . . "Adler, Guido. 1930. Handbuch der Musikgeschichte, second, thoroughly revised and greatly expanded edition. 2 vols. Berlin-Wilmersdorf: H. Keller. Reprinted, Tutzing: Schneider, 1961."@en . . . . "Erromantizismoko musika XVIII. mende bukaeran abiarazi eta XIX. mendean zehar garatu zen musika-mugimendua da, erromantizismoaren printzipioetan oinarritu zena. Garai hartan, garrantzi handia eman zitzaion musikari. Giza banakoaren berezitasuna eta orijinaltasuna azpimarratu ziren, emozioen adierazpena, eta formaren askatasuna. Musika erromantikoaren azken aroan XIX. mendearen bukaerako eta XX.aren hasierako musikagileak aipatu behar dira: Gustav Mahler, Richard Strauss, Sir Edward Elgar eta Jean Sibelius."@eu . "Plantinga, Leon. 1984. Romantic Music: A History of Musical Style in Nineteenth-Century Europe. A Norton Introduction to Music History. New York: W. W. Norton. ; ."@en . . . . "Ottlov\u00E1, Marta, John Tyrrell, and Milan Posp\u00ED\u0161il. 2001. \"Smetana, Bed\u0159ich [Friedrich]\". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers."@en . "La musica romantica \u00E8 musica composta secondo i principi dell'estetica del Romanticismo. Si sviluppa nell'arco di tempo che va dal 1830 (anno della Sinfonia fantastica di Hector Berlioz) al 1890 (anno di Cavalleria rusticana di Pietro Mascagni) e si colloca tra il classicismo e la musica moderna. Un grande autore preromantico fu Ludwig van Beethoven, che inizi\u00F2 a scrivere musica secondo la linea sentimentale del Romanticismo gi\u00E0 durante la fine del '700. Con l'Inno alla gioia di Schiller, nella Nona sinfonia, la sua concezione super\u00F2 le forme allora in uso del linguaggio sinfonico e proiett\u00F2 il musicista in una dimensione inesplorata: da semplice artigiano egli divent\u00F2 poeta e ideologo, creatore di miti e profeta di una speranza nuova. Furono diversi i rappresentanti della corrente romantica celeberrimi per le loro composizioni, ognuno distintosi per aver portato novit\u00E0 alla musica classica: per esempio Franz Schubert, Hector Berlioz, Robert Schumann, Fryderyk Chopin, Carl Maria von Weber, Felix Mendelssohn, Michail Ivanovi\u010D Glinka, Johannes Brahms, Isaac Alb\u00E9niz, Anton Bruckner, Edward Elgar, Richard Strauss, Horatio Parker, Modest Petrovi\u010D Musorgskij, Gustav Mahler, P\u00EBtr Il'i\u010D \u010Cajkovskij, Edvard Grieg, C\u00E9sar Franck, Jean Sibelius, Anton\u00EDn Dvo\u0159\u00E1k, Camille Saint-Sa\u00EBns, Sergei Rachmaninov; in Italia Niccol\u00F2 Paganini, Gioachino Rossini, Vincenzo Bellini, Gaetano Donizetti e Giuseppe Verdi. Fondamentale per l'evoluzione musicale del romanticismo fu anche Franz Liszt, il quale ader\u00EC sin dall'inizio alla nascente musica a programma, rivoluzionandone la tipologia compositiva, e portando ad affermare sul grande palcoscenico un pianismo romantico imponente in grado di sostituire l'orchestra. Oltre a ci\u00F2, si impegn\u00F2 enormemente nella creazione di nuove forme musicali (come il poema sinfonico) e nella modernizzazione di altre gi\u00E0 superate. Ma fu soprattutto Richard Wagner che partendo dall'esperienza di Beethoven condusse melodia e armonia verso i principi del tonalismo romantico pi\u00F9 evoluto, elaborando un nuovo linguaggio musicale che in seguito avrebbe portato alla dissoluzione della tonalit\u00E0. In Wagner, pi\u00F9 che in altri musicisti, vi fu anche uno stretto legame con la poetica, la filosofia e la politica dell'epoca romantica, in cui l'aspirazione al titanismo o l'ideale della notte e della morte come strumento di salvazione pone i suoi drammi tra gli esempi pi\u00F9 alti del Romanticismo e del decadentismo. Con l'avvento del Romanticismo i compositori superarono l'epoca del classicismo avutosi con Haydn e Mozart per approdare ad un'espressione concreta e diretta del sentimento. Furono apportate numerose novit\u00E0: l'orchestra conobbe l'aumento dei fiati e delle percussioni e l'introduzione definitiva come componenti stabili degli ottoni gravi, fra cui il trombone e il bassotuba. Nacque cos\u00EC la figura del direttore d'orchestra, impegnato a dirigere un numero di strumenti sempre pi\u00F9 elevato. La musica ha la capacit\u00E0 di parlare direttamente al cuore ed \u00E8 il mezzo migliore per esprimere emozioni pure. Il pianoforte ebbe una rapida evoluzione tecnica, per questo fatto fu l'elemento preferito degli artisti romantici. Ebbero molto successo il poema sinfonico e la sinfonia programma."@it . . "Grunfeld, Frederic V. 1974. Music. New York: Newsweek Books. ; ."@en . . . . . . "\u03A1\u03BF\u03BC\u03B1\u03BD\u03C4\u03B9\u03BA\u03AE \u03BC\u03BF\u03C5\u03C3\u03B9\u03BA\u03AE"@el . "Feld, Marlon. n.d. \"Summary of Western Classical Music History\". Linked from John Ito, Music Humanities, section 16. New York: Columbia University ."@en . . . "Romantic music is a stylistic movement in Western Classical music associated with the period of the 19th century commonly referred to as the Romantic era (or Romantic period). It is closely related to the broader concept of Romanticism\u2014the intellectual, artistic and literary movement that became prominent in Western culture from approximately 1798 until 1837."@en . . "Schmidt-Jones, Catherine, and Russell Jones. 2004. Introduction to Music Theory. [Houston, TX]: Connexions Project. ."@en . "Machlis, Joseph. 1963."@en . "1121417435"^^ . . . "Mason, Daniel Gregory. 1936. The Romantic Composers. New York: Macmillan."@en . . "De romantiek is een kunststroming uit de 19e eeuw. In de romantische periode van de klassieke muziek maken componisten steeds grotere composities met steeds meer noten en moeilijkere ritmes. De orkesten werden groter en ze gebruiken veel en vreemde, niet eerder toegepaste muziekinstrumenten. Er is veel drama en emotie te horen. Alles draait om wat mensen voelen, fantasie en de natuur. Veelvuldig terugkerende thematiek omvat dan ook onder andere de verheerlijking van de liefde (zowel de ideale als onmogelijke), hang naar het nostalgisch verleden, hernieuwd enthousiasme voor de natuur, de dood en de spontane en subjectieve menselijke emoties als vreugde, verdriet, verwondering, angst, pijn en verlangen."@nl . "\u041C\u0443\u0437\u0438\u043A\u0430 \u0435\u043F\u043E\u0445\u0438 \u0440\u043E\u043C\u0430\u043D\u0442\u0438\u0437\u043C\u0443"@uk . "Romantikens musik var 1800-talets tonspr\u00E5k, som utgjorde musikens manifestation av romantikens estetik. Komposit\u00F6ren Ludwig van Beethoven gick i fr\u00E4msta ledet; hans Eroica utgjorde f\u00F6r romantiken n\u00E5got av en h\u00E4ngbro fr\u00E5n den tidigare stilen, wienklassicismen. Den romantiska musiken \u00F6vergick i nationalromantik och impressionism, men var \u00E4nnu en bit in p\u00E5 1900-talet en betydelsefull str\u00F6mning, tills modernismen br\u00F6t igenom. Det \u00E4r problematiskt att ge en enkel och absolut definition av romantikens musik, liksom f\u00F6r romantiken som helhet. Den hade f\u00F6rankring i folklig kultur, i subjektivism, intimitet och nostalgi samt upph\u00F6jde originaliteten hos komposit\u00F6rer. S\u00E5lunda uppstod nya genrer, som lieden, men \u00E4ven str\u00E4van efter allkonstverk, som den tyska operan (s\u00E4rskilt Wagner) och programmusik, med lyriska inslag, b\u00E5de vad betr\u00E4ffar lyriken som konstform och det sublimt poetiska anslaget. Solisterna, s\u00E5v\u00E4l s\u00E5ngare som instrumentalister, fick en mer framtr\u00E4dande plats och d\u00E4rmed tekniskt sett sv\u00E5rare stycken med komplicerade koloraturer och hastiga tonv\u00E4xlingar. I likhet med sk\u00F6nlitteraturen, fanns en f\u00F6rk\u00E4rlek att \u00E5teranv\u00E4nda partier som ledmotiv. Franz Schubert var en av de f\u00F6rsta komposit\u00F6rerna som kan s\u00E4gas komponera rent romantiskt, men hade samtidigt klassicistiska drag genom p\u00E5verkan fr\u00E5n fr\u00E4mst Mozart. Han byggde sina kompositioner p\u00E5 melodier, vilket dock s\u00E4rskiljer honom fr\u00E5n f\u00F6reg\u00E5ende epok som mer byggde p\u00E5 motiv, och bryter sig fri fr\u00E5n de fr\u00E5n klassicismen givna sambanden mellan solist och ackompanjemang. Romantiken kan delas in i tre delar: tidig romantik, h\u00F6gromantik och senromantik. Senromantiken \u00E4r den sista delen i romantikens stilperiod och \u00E4r den del d\u00E4r framf\u00F6rallt harmoniken utvecklas. Musiken utm\u00E4rks av m\u00E5nga tonartsf\u00F6r\u00E4ndringar och ett brett, svulstigt och episkt tonspr\u00E5k, se exempelvis Gustav Mahler. Den stora graden av experimentell harmonik ledde fram till n\u00E4sta perioden, expressionismen. Senromantikens motiv \u00E4r storslagna och episka och tar inte s\u00E4llan avstamp i speciella och fantasifulla milj\u00F6er, som naturen, natten, barndomen, sagan och exotiska \u00F6ar. I senromantiken framtr\u00E4der k\u00E4rleken till det egna ursprunget, vilket banar v\u00E4g f\u00F6r nationalromantiken."@sv . . . . "A m\u00FAsica do romantismo \u00E9 aquela composta segundo os princ\u00EDpios da est\u00E9tica do romantismo, predominante durante o s\u00E9culo XIX. Na hist\u00F3ria da m\u00FAsica, corresponde ao per\u00EDodo que seguiu ao classicismo. A Sinfonia n\u00BA 3 (Eroica), de Beethoven, obra de 1804, \u00E9 por vezes considerada o marco do fim do per\u00EDodo cl\u00E1ssico e do come\u00E7o da m\u00FAsica rom\u00E2ntica. Mas alguns music\u00F3logos situam o in\u00EDcio do romantismo na m\u00FAsica j\u00E1 no final do s\u00E9culo XVIII, enquanto outros consideram que o per\u00EDodo rom\u00E2ntico tem in\u00EDcio por volta de 1810), ano em que o termo \"rom\u00E2ntico\", antes apenas aplicado ao movimento liter\u00E1rio, foi usado para qualificar Beethoven por E.T.A. Hoffmann (1776-1822), nos seus ensaios sobre a Sinfonia n\u00BA 5. J\u00E1 o final do romantismo na m\u00FAsica \u00E9 situado entre 1880 e 1910, a depender do autor."@pt . "\u30ED\u30DE\u30F3\u6D3E\u97F3\u697D\uFF08\u30ED\u30DE\u30F3\u306F\u304A\u3093\u304C\u304F\uFF09\u306F\u3001\u53E4\u5178\u6D3E\u97F3\u697D\u3092\u30ED\u30DE\u30F3\u4E3B\u7FA9\u306E\u7CBE\u795E\u306B\u3088\u3063\u3066\u767A\u5C55\u3055\u305B\u3066\u3044\u3063\u305F\u3001\u307B\u307C19\u4E16\u7D00\u306E\u30E8\u30FC\u30ED\u30C3\u30D1\u3092\u4E2D\u5FC3\u3068\u3059\u308B\u97F3\u697D\u3092\u6307\u3059\u3002"@ja . . "Lang, Paul Henry. 1941. Music in Western Civilization. New York: W. W. Norton."@en . . . "Erromantizismoko musika XVIII. mende bukaeran abiarazi eta XIX. mendean zehar garatu zen musika-mugimendua da, erromantizismoaren printzipioetan oinarritu zena. Garai hartan, garrantzi handia eman zitzaion musikari. Giza banakoaren berezitasuna eta orijinaltasuna azpimarratu ziren, emozioen adierazpena, eta formaren askatasuna. Beethoven eta Schubert izan ziren zubi klasizismoaren eta erromantizismoaren artean; forma klasikoak erabili bazituzten ere, haien musikaren indar bereziak eta manifestu gisako elementuen erabilpenak eredua eman zien XIX. mendeko musikari erromantikoei. Adierazpen dramatikorako aukerak zabaldu egin ziren bai tresnen errepertorioaren aberastearekin, bai musika forma berriak (lied, intermezzo, preludio, mazurka) sortzearekin. Musika sarritan oinarritzen zen poesian, elezaharretan, herri ipuinetan, eta hitzaren eta musikaren arteko lotura arreta handiz zaindu zen. Erromatizismoaren lehen aroko musikari nagusiak Hector Berlioz, Fr\u00E9d\u00E9ric Chopin, Felix Mendelssohn eta Franz Liszt dira; haien lanaz orkestrak oso adierazkortasun handia lortu zuen, eskala kromatikoa osoa erabili zuten, eta musikaren eta giza ahotsaren arteko harremanak ikertu zituzten. Geroxeago nabarmentzekoak dira Anton\u00EDn Dvo\u0159\u00E1k, Edvard Grieg eta Piotr Ilitx Txaikovski. Erromantikoek beren aberrien musika gauzatzeko egin zituzten ahaleginak Bohemiako Dvo\u0159\u00E1k eta Smetanaren obretan ageri dira batez ere, eta baita Errusiako, Frantziako eta Eskandinaviako zenbait musikarirengan ere. Opera erromantikoak emaitza ezin hobeak eman zituen Italian, Gaetano Donizetti, Vincenzo Bellini era Gioachino Rossiniren lanekin; Giuseppe Verdiren operetan jo zuen gorena. Alemanian Karl Maria von Weberrekin hasi zen opera erromantikoa lantzen, eta Richard Wagnerrek eraman zuen gailurrera, erromatizismoaren ezaugarriak eta abertzaletasun sutsua elkartuz. Musika erromantikoaren azken aroan XIX. mendearen bukaerako eta XX.aren hasierako musikagileak aipatu behar dira: Gustav Mahler, Richard Strauss, Sir Edward Elgar eta Jean Sibelius."@eu . . . . . "Levin, David. 1959. History as Romantic Art: Bancroft, Prescott, and Parkman. Stanford Studies in Language and Literature 20, Stanford: Stanford University Press. Reprinted as a Harbinger Book, New York: Harcourt, Brace & World Inc., 1963. Reprinted, New York: AMS Press, 1967."@en . . . . . "Geck, Martin. 1998. \"Realismus\". Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklop\u00E4die der Musik begr\u00FCnde von Friedrich Blume, second, revised edition, edited by Ludwig Finscher. Sachteil 8: Quer\u2013Swi, cols. 91\u201399. Kassel, Basel, London, New York, Prague: B\u00E4renreiter; Suttgart and Weimar: Metzler. ; ."@en . . . . . "Kravitt, Edward F. 1992. \"Romanticism Today\". The Musical Quarterly 76, no. 1 : 93\u2013109."@en . . "Romantisma muziko"@eo . "Musik romantik sebagai zaman dalam sejarah musik klasik Barat berlangsung dari sekitar awal 1800-an sampai dengan dekade pertama abad ke-20. Zaman ini berlangsung sesudah Zaman Klasik dan sebelum . Musik Zaman Romantik dikaitkan dengan Gerakan Romantik pada sastra, seni, dan filsafat, walaupun pembatasan zaman yang digunakan dalam musikologi sekarang sangat berbeda dari pembatasan zaman ini dalam seni yang lain (yaitu 1780-an sampai dengan 1840-an). \n* l \n* b \n* s"@in . . . . "Hudebn\u00ED romantismus je ozna\u010Den\u00ED hudebn\u00EDho slohu vok\u00E1ln\u00ED a instrument\u00E1ln\u00ED klasick\u00E9 hudby od zhruba prvn\u00ED dek\u00E1dy 19. stolet\u00ED do po\u010D\u00E1tku 20. stolet\u00ED, byl charakterizov\u00E1n zv\u00FD\u0161enou pozornost\u00ED k roz\u0161\u00ED\u0159en\u00E9 melodick\u00E9 linii, jako\u017E i v\u00FDrazov\u00FDm a emotivn\u00EDm prvk\u016Fm, kter\u00E9 spojuj\u00ED romantismus s jin\u00FDmi um\u011Bleck\u00FDmi formami. Vznikl na p\u0159elomu 18. a 19. stolet\u00ED z hudebn\u00EDho klasicismu v duchu impuls\u016F um\u011Bleck\u00E9ho romantismu a v evropsk\u00E9 hudb\u011B dominoval a\u017E do prvn\u00EDch desetilet\u00ED stolet\u00ED dvac\u00E1t\u00E9ho. Romantick\u00E1 hudba je charakteristick\u00E1 zd\u016Frazn\u011Bnou emocionalitou, roz\u0161\u00ED\u0159en\u00EDm a postupn\u011B i p\u0159ekro\u010Den\u00EDm tradi\u010Dn\u00ED harmonie, siln\u011Bj\u0161\u00EDm p\u0159ij\u00EDm\u00E1n\u00EDm impuls\u016F z evropsk\u00E9 lidov\u00E9 hudby a \u010Dast\u00FDm spojov\u00E1n\u00EDm hudby s mimohudebn\u00EDmi, obvykle liter\u00E1rn\u00EDmi my\u0161lenkami (programn\u00ED hudba). Orchestr byl b\u011Bhem 19. stolet\u00ED neust\u00E1le roz\u0161i\u0159ov\u00E1n, aby "@cs . "Romanticisme musical"@ca . . "\u03A1\u03BF\u03BC\u03B1\u03BD\u03C4\u03B9\u03BA\u03AE \u03BF\u03BD\u03BF\u03BC\u03AC\u03B6\u03B5\u03C4\u03B1\u03B9 \u03B7 \u03BC\u03BF\u03C5\u03C3\u03B9\u03BA\u03AE \u03C0\u03BF\u03C5 \u03B1\u03BD\u03AE\u03BA\u03B5\u03B9 \u03C3\u03C4\u03BF \u03B5\u03C5\u03C1\u03CD\u03C4\u03B5\u03C1\u03BF \u03C0\u03BD\u03B5\u03C5\u03BC\u03B1\u03C4\u03B9\u03BA\u03CC \u03BA\u03AF\u03BD\u03B7\u03BC\u03B1 \u03C0\u03BF\u03C5 \u03B5\u03BC\u03C6\u03B1\u03BD\u03AF\u03C3\u03C4\u03B7\u03BA\u03B5 \u03C3\u03C4\u03BF \u03C4\u03AD\u03BB\u03BF\u03C2 \u03C4\u03BF\u03C5 18\u03BF\u03C5 \u03B1\u03B9\u03CE\u03BD\u03B1 \u03C3\u03C4\u03B7 \u0393\u03B5\u03C1\u03BC\u03B1\u03BD\u03AF\u03B1 \u03BA\u03B1\u03B9 \u03B4\u03B9\u03B1\u03B4\u03CC\u03B8\u03B7\u03BA\u03B5 \u03BA\u03B1\u03C4\u03AC \u03C4\u03B9\u03C2 \u03C0\u03C1\u03CE\u03C4\u03B5\u03C2 \u03B4\u03B5\u03BA\u03B1\u03B5\u03C4\u03AF\u03B5\u03C2 \u03C4\u03BF\u03C5 19\u03BF\u03C5 \u03C3\u03C4\u03B7\u03BD \u03C5\u03C0\u03CC\u03BB\u03BF\u03B9\u03C0\u03B7 \u0395\u03C5\u03C1\u03CE\u03C0\u03B7. \u0397 \u03C0\u03B5\u03C1\u03AF\u03BF\u03B4\u03BF\u03C2 \u03B1\u03C5\u03C4\u03AE \u03C7\u03B1\u03C1\u03B1\u03BA\u03C4\u03B7\u03C1\u03AF\u03B6\u03B5\u03C4\u03B1\u03B9 \u03B1\u03C0\u03CC \u03AD\u03BD\u03C4\u03BF\u03BD\u03B5\u03C2 \u03B1\u03BD\u03B1\u03C6\u03BF\u03C1\u03AD\u03C2 \u03C3\u03C7\u03B5\u03C4\u03B9\u03BA\u03AC \u03BC\u03B5 \u03C4\u03B7\u03BD \u03B5\u03BB\u03B5\u03C5\u03B8\u03B5\u03C1\u03AF\u03B1 \u03C4\u03BF\u03C5 \u03B1\u03BD\u03B8\u03C1\u03CE\u03C0\u03BF\u03C5, \u03C4\u03B7\u03BD \u03C0\u03B1\u03B9\u03B4\u03B5\u03AF\u03B1 \u03C4\u03BF\u03C5, \u03C4\u03B7\u03BD \u03C3\u03C7\u03AD\u03C3\u03B7 \u03C4\u03BF\u03C5 \u03BC\u03B5 \u03C4\u03B7 \u03C6\u03CD\u03C3\u03B7 \u03B1\u03BB\u03BB\u03AC \u03BA\u03B1\u03B9 \u03C4\u03BF\u03BD \u03AC\u03BD\u03B8\u03C1\u03C9\u03C0\u03BF. \u039A\u03C5\u03C1\u03B9\u03B1\u03C1\u03C7\u03B5\u03AF \u03BC\u03AF\u03B1 \u03C4\u03AC\u03C3\u03B7 \u03B1\u03C0\u03B5\u03BB\u03B5\u03C5\u03B8\u03AD\u03C1\u03C9\u03C3\u03B7\u03C2 \u03C4\u03C9\u03BD \u03C3\u03C5\u03BD\u03B1\u03B9\u03C3\u03B8\u03B7\u03BC\u03AC\u03C4\u03C9\u03BD \u03C0\u03BF\u03C5 \u03B4\u03B5\u03BD \u03C5\u03C0\u03AE\u03C1\u03C7\u03B5 \u03C3\u03C4\u03B9\u03C2 \u03C0\u03C1\u03BF\u03B7\u03B3\u03BF\u03CD\u03BC\u03B5\u03BD\u03B5\u03C2 \u03B5\u03C0\u03BF\u03C7\u03AD\u03C2 \u03BA\u03B1\u03B9 \u03BF\u03B9 \u03BA\u03B1\u03BB\u03BB\u03B9\u03C4\u03AD\u03C7\u03BD\u03B5\u03C2 \u03B5\u03BA\u03C6\u03C1\u03AC\u03B6\u03BF\u03C5\u03BD \u03C4\u03BF\u03BD \u03C0\u03CC\u03BD\u03BF, \u03C4\u03B7\u03BD \u03B1\u03B3\u03AC\u03C0\u03B7, \u03C4\u03B7\u03BD \u03C7\u03B1\u03C1\u03AC \u03C7\u03C9\u03C1\u03AF\u03C2 \u03BD\u03B1 \u03B1\u03B9\u03C3\u03B8\u03AC\u03BD\u03BF\u03BD\u03C4\u03B1\u03B9 \u03C4\u03B7\u03BD \u03B1\u03BD\u03AC\u03B3\u03BA\u03B7 \u03BD\u03B1 \u03C4\u03B1 \u03BA\u03B1\u03BB\u03CD\u03C8\u03BF\u03C5\u03BD."@el . "Romantikens musik"@sv . "Musik der Romantik"@de . . . "Als Musik der Romantik (Romantik von altfranz\u00F6sisch romance \u201ADichtung\u2018, \u201ARoman\u2018) bezeichnet man die vorherrschende Stilrichtung der Musik des 19. Jahrhunderts. Gew\u00F6hnlich werden drei Abschnitte unterschieden: Fr\u00FChromantik, Hochromantik und Sp\u00E4tromantik. Die wichtigsten Eigenschaften der romantischen Musik sind die Betonung des gef\u00FChlvollen Ausdrucks, die Aufl\u00F6sung der klassischen Formen, die Erweiterung und schlie\u00DFlich \u00DCberschreitung der traditionellen Harmonik sowie die Verbindung der Musik mit au\u00DFermusikalischen, h\u00E4ufig literarischen Ideen (Programmmusik). Das Orchester wurde im Laufe des 19. Jahrhunderts st\u00E4ndig erweitert, um einerseits immer ausgefallenere koloristische Feinheiten zu erzielen, andererseits durch den Einsatz aller zur Verf\u00FCgung stehenden Mittel immer \u00FCberw\u00E4ltigendere Eindr\u00FCcke zu erm\u00F6glichen. Au\u00DFerdem wurden immer h\u00E4ufiger Elemente der Volksmusik aufgenommen, teils im Zuge des Realismus, teils bedingt durch die nationalen Schulen der kleineren L\u00E4nder."@de . . . "\u041C\u0443\u0437\u044B\u043A\u0430 \u044D\u043F\u043E\u0445\u0438 \u0440\u043E\u043C\u0430\u043D\u0442\u0438\u0437\u043C\u0430 \u2014 \u044D\u043F\u043E\u0445\u0430 \u0432 \u0438\u0441\u0442\u043E\u0440\u0438\u0438 \u0435\u0432\u0440\u043E\u043F\u0435\u0439\u0441\u043A\u043E\u0439 \u043F\u0440\u043E\u0444\u0435\u0441\u0441\u0438\u043E\u043D\u0430\u043B\u044C\u043D\u043E\u0439 \u043C\u0443\u0437\u044B\u043A\u0438, \u043E\u0445\u0432\u0430\u0442\u044B\u0432\u0430\u044E\u0449\u0430\u044F \u0432 \u043E\u0441\u043D\u043E\u0432\u043D\u043E\u043C \u043A\u043E\u043D\u0435\u0446 \u043F\u0435\u0440\u0432\u043E\u0439 \u0447\u0435\u0442\u0432\u0435\u0440\u0442\u0438 XIX \u0432\u0435\u043A\u0430 \u2014 \u043F\u0435\u0440\u0432\u043E\u0435 \u0434\u0435\u0441\u044F\u0442\u0438\u043B\u0435\u0442\u0438\u0435 XX."@ru . . . . "Boyer, Jean-Paul. 1961. \"Romantisme\". Encyclop\u00E9die de la musique, edited by Fran\u00E7ois Michel, with Fran\u00E7ois Lesure and Vladimir F\u00E9dorov, 3:585\u201387. Paris: Fasquelle."@en . . . "Adler, Guido. 1919. Methode der Musikgeschichte. Leipzig: Breitkopf & H\u00E4rtel."@en . "La musica romantica \u00E8 musica composta secondo i principi dell'estetica del Romanticismo. Si sviluppa nell'arco di tempo che va dal 1830 (anno della Sinfonia fantastica di Hector Berlioz) al 1890 (anno di Cavalleria rusticana di Pietro Mascagni) e si colloca tra il classicismo e la musica moderna. La musica ha la capacit\u00E0 di parlare direttamente al cuore ed \u00E8 il mezzo migliore per esprimere emozioni pure. Il pianoforte ebbe una rapida evoluzione tecnica, per questo fatto fu l'elemento preferito degli artisti romantici. Ebbero molto successo il poema sinfonico e la sinfonia programma."@it . . "M\u00FAsica del Romanticismo"@es . "L'expression musique romantique d\u00E9signe un type de musique qui domine en Europe tout au long du XIXe si\u00E8cle. Ce courant musical aux formes vari\u00E9es qui met au premier plan l'expression de l'\u00E9motion s'inscrit dans le mouvement esth\u00E9tique europ\u00E9en du romantisme qui touche les arts et la litt\u00E9rature sous l'influence de l'Angleterre et de l'Allemagne o\u00F9 s'approfondit une nouvelle sensibilit\u00E9 \u00E0 partir de la fin du XVIIIe si\u00E8cle. De nombreux compositeurs c\u00E9l\u00E8bres s'illustreront dans cette longue p\u00E9riode aussi bien dans la musique instrumentale et orchestrale que dans l'art lyrique et vocal. Le piano-forte, en rempla\u00E7ant le clavecin, permet d\u00E9sormais d'exploiter de puissants contrastes de dynamique. De la m\u00EAme fa\u00E7on, l'orchestration devient de plus en plus audacieuse et \u00E9labor\u00E9e, d'autant plus que certains instruments, comme le cor, sont modifi\u00E9s par les facteurs d'instruments de mani\u00E8re \u00E0 devenir plus maniables. Les sonorit\u00E9s invent\u00E9es par les romantiques sont particuli\u00E8rement color\u00E9es et \u00E9vocatrices, davantage en tout cas que chez des classiques comme Joseph Haydn ou Wolfgang Amadeus Mozart. \u00C0 la jonction de ces deux courants se situe la puissante personnalit\u00E9 de Ludwig van Beethoven, dont les premi\u00E8res \u0153uvres se rattachent \u00E0 l'esth\u00E9tique classique tandis que celles de sa maturit\u00E9 sont consid\u00E9r\u00E9es comme le d\u00E9but du romantisme musical. Tout au long du XIXe si\u00E8cle, la musique romantique conservera dans ses caract\u00E9ristiques une certaine continuit\u00E9, une homog\u00E9n\u00E9it\u00E9 temporelle de style, que les autres formes artistiques du romantisme ne connurent pas. \u00C0 la base de cette continuit\u00E9 se trouve peut-\u00EAtre une id\u00E9ologie philosophique : la musique devenait enfin une r\u00E9elle forme d'art. La musique commen\u00E7ait \u00E0 prendre une tout autre dimension : elle n'\u00E9tait d\u00E9sormais plus consid\u00E9r\u00E9e comme un art mineur, \u0153uvre d'artisans. Par cons\u00E9quent, ce qui caract\u00E9rise la musique romantique est surtout l'individualit\u00E9 dans les styles. Cette \u00E9poque incarne avant tout la libert\u00E9."@fr . . "Spencer, Stewart. 2008. \"The 'Romantic Operas' and the Turn to Myth\". In The Cambridge Companion to Wagner, edited by Thomas S. Grey, 67\u201373. Cambridge and New York: Cambridge University Press. ; ."@en . . . "L'expression musique romantique d\u00E9signe un type de musique qui domine en Europe tout au long du XIXe si\u00E8cle. Ce courant musical aux formes vari\u00E9es qui met au premier plan l'expression de l'\u00E9motion s'inscrit dans le mouvement esth\u00E9tique europ\u00E9en du romantisme qui touche les arts et la litt\u00E9rature sous l'influence de l'Angleterre et de l'Allemagne o\u00F9 s'approfondit une nouvelle sensibilit\u00E9 \u00E0 partir de la fin du XVIIIe si\u00E8cle. De nombreux compositeurs c\u00E9l\u00E8bres s'illustreront dans cette longue p\u00E9riode aussi bien dans la musique instrumentale et orchestrale que dans l'art lyrique et vocal."@fr . . . . . . . . "Hoffmann, Ernst Theodor Amadeus. 1810. \"Recension: Sinfonie pour 2 Violons, 2 Violes, Violoncelle e Contre-Violon, 2 Fl\u00FBtes, petite Fl\u00FBte, 2 Hautbois, 2 Clarinettes, 2 Bassons, Contrabasson, 2 Cors, 2 Trompettes, Timbales et 3 Trompes, compos\u00E9e et dedi\u00E9e etc. par Louis van Beethoven. \u00E0 Leipsic, chez Breitkopf et H\u00E4rtel, Oeuvre 67. No. 5. des Sinfonies. \". Allgemeine musikalische Zeitung 12, no. 40 , cols. 630\u201342 [Der Beschluss folgt.]; 12, no. 41 , cols. 652\u201359."@en . . "Gutek, Gerald Lee. 1995. A History of the Western Educational Experience, second edition. Prospect Heights, Ill.: Waveland Press. ."@en . . . . . . "Dahlhaus, Carl. 1987. Untitled review of Leon Plantinga, Romantic Music: A History of Musical Styles in Nineteenth-Century Europe and Anthology of Romantic Music, translated by Ernest Sanders. 19th Century Music 11, no. 2:194\u201396."@en . "\u6D6A\u6F2B\u6642\u671F\u7684\u97F3\u6A02\u662F\u7EF4\u4E5F\u7EB3\u53E4\u5178\u4E50\u6D3E\u7684\u5EF6\u7EED\u548C\u53D1\u5C55\uFF0C\u662F\u897F\u65B9\u97F3\u4E50\u53F2\u4E0A\u7684\u4E00\u79CD\u97F3\u4E50\u98CE\u683C\u6216\u8005\u4E00\u4E2A\u65F6\u4EE3\u3002"@zh . . . . "Beard, David, and Kenneth Gloag. 2005. Musicology: The Key Concepts. Cornwall: Routledge."@en . "Romantic music is a stylistic movement in Western Classical music associated with the period of the 19th century commonly referred to as the Romantic era (or Romantic period). It is closely related to the broader concept of Romanticism\u2014the intellectual, artistic and literary movement that became prominent in Western culture from approximately 1798 until 1837. Romantic composers sought to create music that was individualistic, emotional, dramatic and often programmatic; reflecting broader trends within the movements of Romantic literature, poetry, art, and philosophy. Romantic music was often ostensibly inspired by (or else sought to evoke) non-musical stimuli, such as nature, literature, poetry, super-natural elements or the fine arts. It included features such as increased chromaticism and moved away from traditional forms."@en . . . . . . . . . . . . . . "Philips, Abbey. 2011. \"Spacebomb: Truth Lies Somewhere in Between\". RVA News: Joaquin in Memphis."@en . . . "De romantiek is een kunststroming uit de 19e eeuw. In de romantische periode van de klassieke muziek maken componisten steeds grotere composities met steeds meer noten en moeilijkere ritmes. De orkesten werden groter en ze gebruiken veel en vreemde, niet eerder toegepaste muziekinstrumenten. Er is veel drama en emotie te horen. Alles draait om wat mensen voelen, fantasie en de natuur. Veelvuldig terugkerende thematiek omvat dan ook onder andere de verheerlijking van de liefde (zowel de ideale als onmogelijke), hang naar het nostalgisch verleden, hernieuwd enthousiasme voor de natuur, de dood en de spontane en subjectieve menselijke emoties als vreugde, verdriet, verwondering, angst, pijn en verlangen. Componisten zijn nu niet meer in dienst van de koning, de keizer of bij een kleinere hofhouding, ze moeten hun muziek dus zelf zien te verkopen aan de luisteraars. De muziekopleiding gebeurt niet meer aan de kerkscholen, maar aan conservatoria die worden betaald door de overheid. Musicus wordt een echt beroep. De muziek die tijdens de romantiek geschreven wordt, wordt ook steeds complexer. De tendens van deze ontwikkelingen in de 19e eeuw is afkomstig uit de vooruitgangsgedachte uit de Verlichting, en leidde tot steeds grotere werken, grotere orkesten, virtuozere speeltechnieken op verbeterde muziekinstrumenten en complexere harmonische ontwikkelingen. Door amateurmusici is die moeilijkere muziek niet echt goed meer te spelen en het virtuozendom floreert. Daarom schrijven componisten daarnaast salonstukjes, de lichtere muziek. Voor de meeste componisten is dat geen serieus werk, zij willen liever ernstige muziek schrijven. Zo ontstaat er een verschil tussen ernstige en de lichte muziek. De romantiek, en het bijbehorende victoriaanse tijdperk eindigen in een wereldbrand: de Eerste Wereldoorlog. Na het einde van het romantische tijdperk, ook in onze tijd, keren er nog wel romantische elementen terug in de muziek, bijvoorbeeld in de nieuwe romantiek."@nl . . . . "\u6D6A\u6F2B\u6642\u671F\u7684\u97F3\u6A02\u662F\u7EF4\u4E5F\u7EB3\u53E4\u5178\u4E50\u6D3E\u7684\u5EF6\u7EED\u548C\u53D1\u5C55\uFF0C\u662F\u897F\u65B9\u97F3\u4E50\u53F2\u4E0A\u7684\u4E00\u79CD\u97F3\u4E50\u98CE\u683C\u6216\u8005\u4E00\u4E2A\u65F6\u4EE3\u3002"@zh . "Wehnert, Martin. 1998. \"Romantik und romantisch\". Die Musik in Geschichte und Gegenwart: allgemeine Enzyklop\u00E4die der Musik, begr\u00FCndet von Friedrich Blume, second revised edition. Sachteil 8: Quer\u2013Swi, cols. 464\u2013507. Basel, Kassel, London, Munich, and Prague: B\u00E4renreiter; Stuttgart and Weimar: Metzler."@en . . . . "Romantiek (muziek)"@nl . . . "25916"^^ . "Blume, Friedrich. 1970. Classic and Romantic Music, translated by M. D. Herter Norton from two essays first published in Die Musik in Geschichte und Gegenwart. New York: W. W. Norton."@en . . . "Adler, Guido. 1911. Der Stil in der Musik. Leipzig: Breitkopf & H\u00E4rtel."@en . "Dahlhaus, Carl. 1980. Between Romanticism and Modernism: Four Studies in the Music of the Later Nineteenth Century, translated by Mary Whittall in collaboration with Arnold Whittall; also with Friedrich Nietzsche, \"On Music and Words\", translated by Walter Arnold Kaufmann. California Studies in 19th Century Music 1. Berkeley: University of California Press. ; 0520067487 . Original German edition, as Zwischen Romantik und Moderne: vier Studien zur Musikgeschichte des sp\u00E4teren 19. Jahrhunderts. Munich: Musikverlag Katzbichler, 1974."@en . . . . . . . . . . . "Cavalletti, Carlo. 2000. Chopin and Romantic Music, translated by Anna Maria Salmeri Pherson. Hauppauge, NY: Barron's Educational Series. ; ."@en . . . "El romanticisme musical correspon aproximadament a la m\u00FAsica occidental composta al llarg del segle xix a Alemanya. La m\u00FAsica d'aquest per\u00EDode va sorgir sense ruptura amb el llenguatge musical, l'harmonia i els g\u00E8neres del classicisme, de tal manera que en molts aspectes ambd\u00F3s per\u00EDodes es poden considerar com una \u00FAnica gran \u00E8poca dins la hist\u00F2ria de la m\u00FAsica. Sigui com sigui, el romanticisme introdueix un nou element po\u00E8tic i metaf\u00EDsic, que fa que el sentiment prevalgui sobre la ra\u00F3, predominant el subjectivisme i l'emoci\u00F3. D'altra part, hi ha un principi din\u00E0mic relacionat amb l'esperit positivista de l'\u00E8poca que fa que es desenvolupin diferents aspectes de la pr\u00E0ctica musical, com ara la t\u00E8cnica interpretativa, o la construcci\u00F3 d'instruments. Tamb\u00E9 fruit del positivisme, el segle xix v"@ca . "Musique romantique"@fr . . "Romantikens musik var 1800-talets tonspr\u00E5k, som utgjorde musikens manifestation av romantikens estetik. Komposit\u00F6ren Ludwig van Beethoven gick i fr\u00E4msta ledet; hans Eroica utgjorde f\u00F6r romantiken n\u00E5got av en h\u00E4ngbro fr\u00E5n den tidigare stilen, wienklassicismen. Den romantiska musiken \u00F6vergick i nationalromantik och impressionism, men var \u00E4nnu en bit in p\u00E5 1900-talet en betydelsefull str\u00F6mning, tills modernismen br\u00F6t igenom. Romantiken kan delas in i tre delar: tidig romantik, h\u00F6gromantik och senromantik."@sv . . . "En la m\u00FAsica, el Romanticismo fue un per\u00EDodo que transcurri\u00F3, aproximadamente, entre los a\u00F1os 1810 y la primera d\u00E9cada del siglo XX, y suele englobar toda la m\u00FAsica escrita de acuerdo a las normas y formas de dicho per\u00EDodo."@es . . . . . 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"En la m\u00FAsica, el Romanticismo fue un per\u00EDodo que transcurri\u00F3, aproximadamente, entre los a\u00F1os 1810 y la primera d\u00E9cada del siglo XX, y suele englobar toda la m\u00FAsica escrita de acuerdo a las normas y formas de dicho per\u00EDodo. El Romanticismo musical es un per\u00EDodo de la m\u00FAsica acad\u00E9mica que fue precedido por el Clasicismo y seguido por el Impresionismo. Est\u00E1 relacionado, por supuesto, con el Romanticismo en otras disciplinas: la corriente de cambios en Literatura, Bellas Artes y Filosof\u00EDa, aunque suele haber ligeras diferencias temporales dado que, el Romanticismo en aquellas Artes y en la Filosof\u00EDa, se suele reconocer entre los a\u00F1os 1780 y 1840. El Romanticismo como movimiento global en las Artes y la Filosof\u00EDa tiene como precepto que la verdad no pod\u00EDa ser deducida a partir de axiomas y que, en el mundo, hab\u00EDa realidades inevitables que solo se pod\u00EDan captar mediante la emoci\u00F3n, el sentimiento y la intuici\u00F3n. La m\u00FAsica del Romanticismo intentaba expresar estas emociones hacia una persona u objeto al cual quiere o aprecia."@es . . 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"Grout, Donald Jay. 1960. A History of Western Music. New York: W. W. Norton & Company, Inc."@en . "Musik romantik sebagai zaman dalam sejarah musik klasik Barat berlangsung dari sekitar awal 1800-an sampai dengan dekade pertama abad ke-20. Zaman ini berlangsung sesudah Zaman Klasik dan sebelum . Musik Zaman Romantik dikaitkan dengan Gerakan Romantik pada sastra, seni, dan filsafat, walaupun pembatasan zaman yang digunakan dalam musikologi sekarang sangat berbeda dari pembatasan zaman ini dalam seni yang lain (yaitu 1780-an sampai dengan 1840-an). Beberapa komponis dari zaman ini adalah Franz Schubert, Johann Strauss, Sr., Felix Mendelssohn, Fr\u00E9d\u00E9ric Chopin, Robert Schumann, Richard Wagner, Giuseppe Verdi, Hector Berlioz, dan Johannes Brahms. \n* l \n* b \n* s"@in . "Nichols, Ashton. 2005. \"Roaring Alligators and Burning Tygers: Poetry and Science from William Bartram to Charles Darwin\". Proceedings of the American Philosophical Society 149, no. 3:304\u201315."@en . . . "\u041C\u0443\u0437\u044B\u043A\u0430 \u044D\u043F\u043E\u0445\u0438 \u0440\u043E\u043C\u0430\u043D\u0442\u0438\u0437\u043C\u0430"@ru . . . . . . . "El romanticisme musical correspon aproximadament a la m\u00FAsica occidental composta al llarg del segle xix a Alemanya. La m\u00FAsica d'aquest per\u00EDode va sorgir sense ruptura amb el llenguatge musical, l'harmonia i els g\u00E8neres del classicisme, de tal manera que en molts aspectes ambd\u00F3s per\u00EDodes es poden considerar com una \u00FAnica gran \u00E8poca dins la hist\u00F2ria de la m\u00FAsica. Sigui com sigui, el romanticisme introdueix un nou element po\u00E8tic i metaf\u00EDsic, que fa que el sentiment prevalgui sobre la ra\u00F3, predominant el subjectivisme i l'emoci\u00F3. D'altra part, hi ha un principi din\u00E0mic relacionat amb l'esperit positivista de l'\u00E8poca que fa que es desenvolupin diferents aspectes de la pr\u00E0ctica musical, com ara la t\u00E8cnica interpretativa, o la construcci\u00F3 d'instruments. Tamb\u00E9 fruit del positivisme, el segle xix veur\u00E0 n\u00E9ixer la musicologia i la pedagogia musical tal com l'entenem en l'actualitat. La m\u00FAsica rom\u00E0ntica est\u00E0 relacionada amb el romanticisme literari, pict\u00F2ric i filos\u00F2fic, malgrat que la dataci\u00F3 convencional de la musicologia difereix notablement de les altres arts, que defineixen com a rom\u00E0ntic el per\u00EDode compr\u00E8s entre el 1780 i el 1840. En canvi, la musicologia actual situa els inicis del romanticisme a principis del segle xix i no el conclou definitivament fins a l'inici de la Primera Guerra Mundial."@ca . . "Samson, Jim. 2001. \"Romanticism\". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers."@en . "Warrack, John. 2002. \"Romanticism\". The Oxford Companion to Music, edited by Alison Latham. Oxford and New York: Oxford University Press. ."@en . "M\u00FAsica do romantismo"@pt . . . "Kiel muziko de la romantismo a\u016D romantikismo (de malnovfranca romance, poezia\u0135o, romano) oni nomas la dominan stiltendencon de la muziko de la 19-a jarcento. La plej gravaj ecoj de romantikisma muziko estas la emfazo de sentoplena esprimo, la dissolvo de la klasikaj formoj, la pliampleksigo de la tradicia harmoniko samkiel la asociado de la muziko kun ekstermuzikaj, ofte literaturaj ideoj (programmuziko). La orkestron oni \u0109iame pliampleksigis, por unuflanke atingi kolorecajn fajna\u0135ojn, aliflanke per uzado de \u0109iuj disponeblaj rimedoj ebligi pli kaj pli grandiozajn impresojn. Krome oni enprenis \u0109iam pli ofte elementojn de la popolmuziko, parte en la kadro de la realismo, parte ka\u016Dzitaj per la naciaj skoloj de malgrandaj landoj. Kutime oni distingas inter tri fazoj de la romantikismo, kvankam"@eo . . . . "A m\u00FAsica do romantismo \u00E9 aquela composta segundo os princ\u00EDpios da est\u00E9tica do romantismo, predominante durante o s\u00E9culo XIX. Na hist\u00F3ria da m\u00FAsica, corresponde ao per\u00EDodo que seguiu ao classicismo. A Sinfonia n\u00BA 3 (Eroica), de Beethoven, obra de 1804, \u00E9 por vezes considerada o marco do fim do per\u00EDodo cl\u00E1ssico e do come\u00E7o da m\u00FAsica rom\u00E2ntica. Mas alguns music\u00F3logos situam o in\u00EDcio do romantismo na m\u00FAsica j\u00E1 no final do s\u00E9culo XVIII, enquanto outros consideram que o per\u00EDodo rom\u00E2ntico tem in\u00EDcio por volta de 1810), ano em que o termo \"rom\u00E2ntico\", antes apenas aplicado ao movimento liter\u00E1rio, foi usado para qualificar Beethoven por E.T.A. Hoffmann (1776-1822), nos seus ensaios sobre a Sinfonia n\u00BA 5. J\u00E1 o final do romantismo na m\u00FAsica \u00E9 situado entre 1880 e 1910, a depender do autor. A \u00E9poca do romantismo musical coincide com o romantismo na Literatura, Filosofia e Artes Pl\u00E1sticas. A ideia geral do romantismo \u00E9 que a verdade n\u00E3o poderia ser deduzida a partir de axiomas. Certas realidades s\u00F3 poderiam ser captadas atrav\u00E9s da emo\u00E7\u00E3o, do sentimento e da intui\u00E7\u00E3o. Por essa raz\u00E3o, a m\u00FAsica rom\u00E2ntica \u00E9 caracterizada pela maior flexibilidade das formas musicais e procurando focar mais o sentimento transmitido pela m\u00FAsica do que propriamente a est\u00E9tica, ao contr\u00E1rio do classicismo. No entanto, os g\u00E9neros musicais cl\u00E1ssicos, tais como a sinfonia e o concerto, continuaram sendo escritos."@pt . "Dahlhaus, Carl. 1985. Realism in Nineteenth-Century Music, translated by Mary Whittall. Cambridge and New York: Cambridge University Press. ; . Original German edition, as Musikalischer Realismus: zur Musikgeschichte des 19. Jahrhunderts. Munich: R. Piper, 1982. ."@en . . . "\u041C\u0443\u0437\u044B\u043A\u0430 \u044D\u043F\u043E\u0445\u0438 \u0440\u043E\u043C\u0430\u043D\u0442\u0438\u0437\u043C\u0430 \u2014 \u044D\u043F\u043E\u0445\u0430 \u0432 \u0438\u0441\u0442\u043E\u0440\u0438\u0438 \u0435\u0432\u0440\u043E\u043F\u0435\u0439\u0441\u043A\u043E\u0439 \u043F\u0440\u043E\u0444\u0435\u0441\u0441\u0438\u043E\u043D\u0430\u043B\u044C\u043D\u043E\u0439 \u043C\u0443\u0437\u044B\u043A\u0438, \u043E\u0445\u0432\u0430\u0442\u044B\u0432\u0430\u044E\u0449\u0430\u044F \u0432 \u043E\u0441\u043D\u043E\u0432\u043D\u043E\u043C \u043A\u043E\u043D\u0435\u0446 \u043F\u0435\u0440\u0432\u043E\u0439 \u0447\u0435\u0442\u0432\u0435\u0440\u0442\u0438 XIX \u0432\u0435\u043A\u0430 \u2014 \u043F\u0435\u0440\u0432\u043E\u0435 \u0434\u0435\u0441\u044F\u0442\u0438\u043B\u0435\u0442\u0438\u0435 XX."@ru . . . "Romantic music"@en . "\uB0AD\uB9CC\uC8FC\uC758 \uC74C\uC545(Romantic music) \uB610\uB294 \uB0AD\uB9CC\uD30C\uB294 \uC77C\uBC18\uC801\uC73C\uB85C \uC11C\uC591\uC74C\uC545\uC0AC\uC5D0\uC11C 1815\uB144 \uB098\uD3F4\uB808\uC639\uC758 \uD328\uC804 \uC774\uD6C4\uBD80\uD130 1960\uB144\uAE4C\uC9C0\uC758 \uC74C\uC545\uC744 \uC77C\uCEEB\uB294\uB2E4. (\uC2E4\uC9C8\uC801\uC73C\uB85C\uB294 1890\uB144\uB300\uAE4C\uC9C0) 1890\uB144\uBD80\uD130 1980\uB144\uB300\uAE4C\uC9C0\uC758 \uC74C\uC545\uC744 \uC73C\uB85C \uB530\uB85C \uAD6C\uBD84\uD558\uAE30\uB3C4 \uD55C\uB2E4. \uADF8\uB7EC\uB098 19\uC138\uAE30 \uC11C\uC591\uC74C\uC545\uC774 \uBAA8\uB450 \uB0AD\uB9CC\uC8FC\uC758\uC778 \uAC83\uC740 \uC544\uB2C8\uB2E4. \uD604\uC7AC \uAC00\uC7A5 \uD0C0\uB2F9\uD558\uB2E4\uACE0 \uC0DD\uAC01\uB418\uB294 \uC120\uC5D0\uC11C \uADF8 \uD750\uB984\uC744 \uCD94\uAD6C\uD574 \uBCF4\uBA74 \uC6B0\uC120 \uB3C5\uC77C \uB0AD\uB9CC\uC8FC\uC758\uB85C \uC288\uBCA0\uB974\uD2B8\uC5D0\uC11C \uC288\uB9CC\uAE4C\uC9C0\uB97C \uB2E4\uB8E8\uACE0, \uB3D9\uAE30\uC758 \uB0AD\uB9CC\uD30C\uAD70\uC73C\uB85C\uB294 \uC8FC\uB85C \uD504\uB791\uC2A4\uC640 \uC774\uD0C8\uB9AC\uC544\uC758 \uC624\uD398\uB77C \uC791\uACE1\uAC00\uB098 \uC1FC\uD33D\uC744 \uB4E0\uB2E4. \uADF8\uB9AC\uACE0 \uD6C4\uAE30\uB0AD\uB9CC\uC8FC\uC758\uC758 \uAE38\uB85C \uBCA0\uB97C\uB9AC\uC624\uC988, \uB9AC\uC2A4\uD2B8, \uBC14\uADF8\uB108, \uB9D0\uB7EC\uC758 \uC120\uC774 \uC8FC\uBAA9\uB418\uBA70, \uADF8 \uBC16\uC5D0 \uADF8 \uC8FC\uBCC0\uC774\uB098 \uB610\uB294 \uB300\uB9BD\uC73C\uB85C\uC11C \uBE0C\uB78C\uC2A4, \uBE0C\uB8E8\uD06C\uB108, \uD504\uB791\uC2A4\uC758 \uAD6C\uB178, \uBE44\uC81C, \uC774\uD0C8\uB9AC\uC544\uC758 \uBCA0\uB974\uB514\uB97C \uB4E4 \uC218 \uC788\uB2E4. \uB610\uD55C \uC2A4\uCE78\uB514\uB098\uBE44\uC544\uB098 \uC2AC\uB77C\uBE0C \uAC01\uAD6D\uC5D0 \uB300\uD55C \uB0AD\uB9CC\uD30C\uC758 \uC601\uD5A5\uB3C4 \uB9CC\uB4E4\uC5B4\uC9C4\uB2E4. \uC774\uC640 \uAC19\uC774 \uD3EC\uAD04\uC801\uC73C\uB85C \uC0B4\uD540 \uD750\uB984\uC5D0\uC11C\uB3C4 \uBA85\uB8CC\uD558\uB4EF\uC774, \uB0AD\uB9CC\uD30C\uC758 \uC74C\uC545\uC740 \uC608\uC220\uCCA0\uD559\uC774\uB098 \uB2E4\uB978 \uC608\uC220\uACFC\uC758 \uAD00\uB828\uBC29\uC2DD\uC774\uB098 \uB300\uC0C1\uC73C\uB85C \uD558\uB294 \uACE1\uC885 \uB4F1\uC758 \uC810\uC5D0\uC11C \uAC01\uAC01 \uB2E4\uB978 \uC218\uB2E8\uC5D0 \uC758\uD558\uACE0 \uC788\uB2E4. \uADF8\uB7EC\uB098 \uC791\uACE1\uC774\uB860\uC0C1\uC5D0\uC11C\uC758 \uACF5\uD1B5\uB41C \uBB38\uC81C\uC810\uC740 \uAC1C\uC131\uC801\uC778 \uC791\uD488\uC5D0 \uB300\uD55C \uC2EC\uB9AC\uC758 \uBBF8\uBB18\uD55C \uBC18\uC601\uC744 \uAF80\uD55C \uACB0\uACFC, \uC870\uBC14\uAFC8\uC774\uB098 \uC0C9\uCC44\uC758 \uBCC0\uD654\uC5D0 \uAD00\uB828\uB418\uB294 \uD654\uC131\uBC95, \uB610\uB294 \uAD00\uD604\uC545\uBC95\uC5D0 \uC788\uC5C8\uB2E4. \uC5EC\uAE30\uC11C \uC8FC\uBAA9\uB418\uB294 \uC810\uC740 \uBAA8\uB4E0 \uC608\uC220 \uC18D\uC5D0\uC11C \uC74C\uC545\uC740 \uC911\uC2EC\uC801\uC778 \uC704\uCE58\uB97C \uCC28\uC9C0\uD558\uBA70 \uAE30\uC545\uC74C\uC545\uC758 \uAC00\uCE58\uAC00 \uCDA9\uBD84\uD788 \uC778\uC815\uB418\uC5C8\uB2E4\uB294 \uC0AC\uC2E4\uC774\uB2E4. \uC74C\uC545\uC740 \"\uC77C\uBC18\uC801\uC778 \uB9D0\uCC98\uB7FC \uD558\uB098\uD558\uB098\uC758 \uBA85\uD655\uD55C \uB73B\uC744 \uC9C0\uB2C8\uC9C0 \uC54A\uACE0 \uADF8\uAC83\uB9CC\uC73C\uB85C \uBB34\uC5C7\uC778\uAC00\uB97C \uD45C\uD604\uD558\uB824\uB294\" \uC74C\uC758 \uC5B8\uC5B4\uB85C\uC11C \uD30C\uC545\uB418\uBA70, \uB530\uB77C\uC11C \uC791\uACE1\uAC00\uB294 \uC2DC\uC801, \uD68C\uD654\uC801, \uC124\uD654\uC801, \uADF9\uC801\uC778 \uC138\uACC4\uC640 \uACB0\uBD80\uB41C \uAC10\uC815\uC758 \uC6C0\uC9C1\uC784\uC744 \uC801\uADF9\uC801\uC73C\uB85C \uC74C\uC545\uC5D0 \uB098\uD0C0\uB0C8\uB2E4. \uADF8\uB7EC\uBBC0\uB85C \uC18C\uACE1\uC774\uAC74 \uB300\uACE1\uC774\uAC74 \uD45C\uC81C\uAC00 \uB530\uB978 \uC791\uD488\uC774 \uB9CE\uC774 \uB9CC\uB4E4\uC5B4\uC9C0\uACE0, \uB9C8\uCE68\uB0B4\uB294 \uBC14\uADF8\uB108\uC758 \uC624\uD398\uB77C\uC5D0\uC11C \uBCFC \uC218 \uC788\uB4EF\uC774 \uB0AD\uB9CC\uC801\uC778 \uC774\uB150\uACFC \uACE0\uC804\uC801\uC778 \uC774\uB150\uC758 \uACB0\uD569\uC774 \uC774\uB8E8\uC5B4\uC9C0\uBA70, \uD45C\uC81C \uC74C\uC545\uC758 \uB0B4\uC6A9\uC758 \uAE4A\uC740 \uC815\uC2E0\uC131\uC774 \uC11C\uC591\uC74C\uC545\uC758 \uC804\uD1B5\uC744 \uBC30\uACBD\uC73C\uB85C \uC0C8\uB85C\uC6B4 \uD638\uC18C\uB97C \uD558\uAC8C \uB418\uC5C8\uB2E4. \uADF8\uB7EC\uB098 \uBD80\uBD84\uC801\uC73C\uB85C\uB294 \uBC14\uADF8\uB108\uC758 \uC601\uD5A5\uC744 \uBC1B\uC73C\uBA74\uC11C\uB3C4 \uBC14\uADF8\uB108\uC640\uB294 \uB2E4\uB978 \uBC29\uD5A5\uC5D0\uC11C 19\uC138\uAE30 \uD6C4\uBC18 \uC74C\uC545\uC758 \uD2B9\uC9D5\uC744 \uACB0\uC815\uD55C \uC791\uACE1\uAC00\uAC00 \uC788\uB294\uB370, \uBCA0\uB974\uB514, \uBE0C\uB78C\uC2A4, \uBE0C\uB8E8\uD06C\uB108 \uB4F1\uC758 \uC774\uB984\uC744 \uB4E4 \uC218 \uC788\uB2E4. \uD2B9\uD788 \uBE0C\uB78C\uC2A4\uB294 \uBC14\uD750-\uBCA0\uD1A0\uBCA4-\uC288\uBCA0\uB974\uD2B8-\uC288\uB9CC\uC758 \uACC4\uC5F4\uC5D0 \uB530\uB77C \uB3C5\uC77C\uC74C\uC545\uC758 \uC804\uD1B5\uC801\uC778 \uACE0\uC804\uC801 \uACBD\uD5A5\uC744 \uB098\uD0C0\uB0B4\uC5B4 \uAE00\uC790 \uADF8\uB300\uB85C \uD45C\uC81C \uC74C\uC545\uC758 \uAC1C\uB150\uC5D0 \uB300\uB9BD\uD558\uB294 \uC808\uB300\uC801\uC778 \uC74C\uC545\uC758 \uC785\uC7A5\uC744 \uCDE8\uD558\uC600\uB2E4. \uBE0C\uB8E8\uD06C\uB108\uB294 \uC8FC\uAD00\uC801\uC778 \uACBD\uD5A5\uC744 \uCD08\uC6D4\uD558\uC5EC \uBCF4\uD3B8\uC801, \uC989 \uC885\uAD50\uC801\uC778 \uAC10\uC815\uC758 \uD45C\uD604\uC744 \uB418\uCC3E\uC558\uC73C\uBA70, \uAE30\uB3C5\uAD50\uC801 \uB0AD\uB9CC\uC8FC\uC758 \uC791\uACE1\uAC00\uB85C\uC11C \uADFC\uB144\uC5D0 \uC640\uC11C \uC0C8\uC0BC\uC2A4\uB7FD\uAC8C \uC8FC\uBAA9\uC744 \uBC1B\uACE0 \uC788\uB2E4. \uADF8\uB9AC\uACE0 \uC804\uCCB4\uC801\uC73C\uB85C 1890\uB144\uB300 \uBB34\uB835\uBD80\uD130\uB294 \uC11C\uC11C\uD788 \uB0AD\uB9CC\uC8FC\uC758\uC758 \uC1E0\uD1F4\uAC00 \uB098\uD0C0\uB098 \uD604\uB300\uC5D0\uC758 \uC774\uD589\uC744 \uB69C\uB837\uC774 \uD588\uB2E4."@ko . "\u0645\u0648\u0633\u064A\u0642\u0649 \u0631\u0648\u0645\u0627\u0646\u0633\u064A\u0629"@ar . . . "Young, Percy Marshall. 1967. A History of British Music. London: Benn."@en . "\u0627\u0644\u0645\u0648\u0633\u064A\u0642\u0627 \u0627\u0644\u0631\u0648\u0645\u0627\u0646\u0633\u064A\u0629 \u0647\u064A \u062D\u0631\u0643\u0629 \u0646\u0645\u0637\u064A\u0629 \u0641\u064A \u0627\u0644\u0645\u0648\u0633\u064A\u0642\u0627 \u0627\u0644\u0643\u0644\u0627\u0633\u064A\u0643\u064A\u0629 \u0627\u0644\u063A\u0631\u0628\u064A\u0629 \u0630\u0627\u062A \u0635\u0644\u0629 \u0628\u0627\u0644\u0641\u062A\u0631\u0629 \u0627\u0644\u0632\u0645\u0646\u064A\u0629 \u0627\u0644\u062A\u064A \u0627\u0645\u062A\u062F\u062A \u062E\u0644\u0627\u0644 \u0627\u0644\u0642\u0631\u0646 \u0627\u0644\u062A\u0627\u0633\u0639 \u0639\u0634\u0631\u060C \u0648\u0627\u0644\u062A\u064A \u064A\u064F\u0634\u0627\u0631 \u0625\u0644\u064A\u0647\u0627 \u0639\u0645\u0648\u0645\u064B\u0627 \u0628\u0627\u0644\u062D\u0642\u0628\u0629 \u0627\u0644\u0631\u0648\u0645\u0627\u0646\u0633\u064A\u0629 (\u0623\u0648 \u0627\u0644\u0641\u062A\u0631\u0629 \u0627\u0644\u0631\u0648\u0645\u0627\u0646\u0633\u064A\u0629). \u0625\u0646\u0647\u0627 \u0645\u0631\u062A\u0628\u0637\u0629 \u0627\u0631\u062A\u0628\u0627\u0637\u064B\u0627 \u0648\u062B\u064A\u0642\u064B\u0627 \u0645\u0639 \u0627\u0644\u0645\u0641\u0647\u0648\u0645 \u0627\u0644\u0623\u0648\u0633\u0639 \u0644\u0644\u0631\u0648\u0645\u0627\u0646\u0633\u064A\u0629 (\u0627\u0644\u0631\u0648\u0645\u0627\u0646\u062A\u064A\u0643\u064A\u0629)\u061B \u0627\u0644\u062D\u0631\u0643\u0629 \u0627\u0644\u0623\u062F\u0628\u064A\u0629 \u0627\u0644\u0641\u0646\u064A\u0629 \u0627\u0644\u0641\u0643\u0631\u064A\u0629 \u0627\u0644\u062A\u064A \u0623\u0635\u0628\u062D\u062A \u0628\u0627\u0631\u0632\u0629\u064B \u0641\u064A \u0623\u0648\u0631\u0648\u0628\u0627 \u062A\u0642\u0631\u064A\u0628\u064B\u0627 \u0645\u0646 \u0639\u0627\u0645 1800 \u062D\u062A\u0649 \u0639\u0627\u0645 1850 \u062A\u0642\u0631\u064A\u0628\u064B\u0627.\u0633\u0639\u0649 \u0627\u0644\u0645\u0624\u0644\u0641\u0648\u0646 \u0627\u0644\u0631\u0648\u0645\u0627\u0646\u0633\u064A\u0648\u0646 \u0625\u0644\u0649 \u0625\u0646\u0634\u0627\u0621 \u0645\u0648\u0633\u064A\u0642\u0627 \u0641\u0631\u062F\u0627\u0646\u064A\u0629\u060C \u0648\u0639\u0627\u0637\u0641\u064A\u0629\u060C \u0648\u062F\u0631\u0627\u0645\u064A\u0629\u060C \u0648\u063A\u0627\u0644\u0628\u064B\u0627 \u062A\u0635\u0648\u064A\u0631\u064A\u0629\u060C \u0644\u062A\u0643\u0648\u0646 \u0627\u0646\u0639\u0643\u0627\u0633\u064B\u0627 \u0644\u0644\u0633\u064A\u0627\u0642\u0627\u062A \u0627\u0644\u0634\u0627\u0626\u0639\u0629 \u0627\u0644\u0623\u0648\u0633\u0639 \u0641\u064A \u0645\u062C\u0627\u0644\u0627\u062A \u0627\u0644\u0641\u0644\u0633\u0641\u0629 \u0648\u0627\u0644\u0641\u0646 \u0648\u0627\u0644\u0634\u0639\u0631 \u0648\u0627\u0644\u0623\u062F\u0628 \u0627\u0644\u0631\u0648\u0645\u0627\u0646\u0633\u064A. \u0627\u0633\u062A\u064F\u0644\u0647\u0645\u062A \u0627\u0644\u0645\u0648\u0633\u064A\u0642\u0627 \u0627\u0644\u0631\u0648\u0645\u0627\u0646\u0633\u064A\u0629 \u0638\u0627\u0647\u0631\u064A\u064B\u0627 \u0645\u0646 (\u0623\u0648 \u0633\u0639\u062A \u0625\u0644\u0649 \u0625\u062B\u0627\u0631\u0629) \u0627\u0644\u0645\u0624\u062B\u0631\u0627\u062A \u063A\u064A\u0631 \u0627\u0644\u0645\u0648\u0633\u064A\u0642\u064A\u0629\u060C \u0645\u062B\u0644 \u0627\u0644\u0637\u0628\u064A\u0639\u0629\u060C \u0623\u0648 \u0627\u0644\u0623\u062F\u0628\u060C \u0623\u0648 \u0627\u0644\u0634\u0639\u0631\u060C \u0623\u0648 \u0627\u0644\u0641\u0646\u0648\u0646 \u0627\u0644\u062A\u0634\u0643\u064A\u0644\u064A\u0629."@ar . . "Gr\u00E9try, Andr\u00E9-Ernest-Modeste. 1789. M\u00E9moires, ou Essai sur la musique. 3 vols. Paris: Chez l'auteur, de L'Imprimerie de la r\u00E9publique, 1789. Second, enlarged edition, Paris: Imprimerie de la r\u00E9publique, pluvi\u00F4se, 1797. Republished, 3 vols., Paris: Verdiere, 1812; Brussels: Whalen, 1829. Facsimile of the 1797 edition, Da Capo Press Music Reprint Series. New York: Da Capo Press, 1971. Facsimile reprint in 1 volume of the 1829 Brussels edition, Bibliotheca musica Bononiensis, Sezione III no. 43. Bologna: Forni Editore, 1978."@en . . "Casey, Christopher. 2008. \"'Grecian Grandeurs and the Rude Wasting of Old Time': Britain, the Elgin Marbles, and Post-Revolutionary Hellenism\". Foundations 3, no. 1:31\u201364 ."@en . . "Romantyzm w muzyce zacz\u0105\u0142 si\u0119 rodzi\u0107 ju\u017C w tw\u00F3rczo\u015Bci Beethovena. Po rewolucji francuskiej w ca\u0142ej Europie zacz\u0119\u0142y zachodzi\u0107 zmiany o prze\u0142omowym znaczeniu. Najwy\u017Cszym celem romantycznych kompozytor\u00F3w by\u0142o oddawanie uczu\u0107 za pomoc\u0105 \u015Brodk\u00F3w muzycznych. \u017Bywa by\u0142a te\u017C idea korespondencji sztuk. Inne idee romantyczne to: programowo\u015B\u0107, narodowo\u015B\u0107, historycyzm, fantastyka (ba\u015Bniowo\u015B\u0107)."@pl . . . "Einstein, Alfred. 1947. Music in the Romantic Era. New York: W. W. Norton."@en . . . . . . "\u30ED\u30DE\u30F3\u6D3E\u97F3\u697D"@ja . . "Hudebn\u00ED romantismus je ozna\u010Den\u00ED hudebn\u00EDho slohu vok\u00E1ln\u00ED a instrument\u00E1ln\u00ED klasick\u00E9 hudby od zhruba prvn\u00ED dek\u00E1dy 19. stolet\u00ED do po\u010D\u00E1tku 20. stolet\u00ED, byl charakterizov\u00E1n zv\u00FD\u0161enou pozornost\u00ED k roz\u0161\u00ED\u0159en\u00E9 melodick\u00E9 linii, jako\u017E i v\u00FDrazov\u00FDm a emotivn\u00EDm prvk\u016Fm, kter\u00E9 spojuj\u00ED romantismus s jin\u00FDmi um\u011Bleck\u00FDmi formami. Vznikl na p\u0159elomu 18. a 19. stolet\u00ED z hudebn\u00EDho klasicismu v duchu impuls\u016F um\u011Bleck\u00E9ho romantismu a v evropsk\u00E9 hudb\u011B dominoval a\u017E do prvn\u00EDch desetilet\u00ED stolet\u00ED dvac\u00E1t\u00E9ho. Romantick\u00E1 hudba je charakteristick\u00E1 zd\u016Frazn\u011Bnou emocionalitou, roz\u0161\u00ED\u0159en\u00EDm a postupn\u011B i p\u0159ekro\u010Den\u00EDm tradi\u010Dn\u00ED harmonie, siln\u011Bj\u0161\u00EDm p\u0159ij\u00EDm\u00E1n\u00EDm impuls\u016F z evropsk\u00E9 lidov\u00E9 hudby a \u010Dast\u00FDm spojov\u00E1n\u00EDm hudby s mimohudebn\u00EDmi, obvykle liter\u00E1rn\u00EDmi my\u0161lenkami (programn\u00ED hudba). Orchestr byl b\u011Bhem 19. stolet\u00ED neust\u00E1le roz\u0161i\u0159ov\u00E1n, aby umo\u017Enil vyj\u00E1d\u0159it st\u00E1le jemn\u011Bj\u0161\u00ED citov\u00E9 odst\u00EDny, tak i vyvolat mohutn\u00FD dojem p\u0159i pln\u00E9m nasazen\u00ED v\u0161ech n\u00E1stroj\u016F. Hudba se stala v\u00EDce chromatickou, disonantn\u00ED a t\u00F3nov\u011B barevn\u011Bj\u0161\u00ED, s nap\u011Bt\u00EDm (s ohledem na p\u0159ijat\u00E9 normy star\u0161\u00EDch forem) p\u0159i n\u00E1r\u016Fstu po\u010Dtu p\u0159edznamen\u00ED. Um\u011Bleck\u00E1 p\u00EDse\u0148 (neboli Lied) dozr\u00E1la v t\u00E9to \u00E9\u0159e, stejn\u011B jako epick\u00E9 rozsahy Grand opera. Ty byly p\u0159ed\u010Deny a\u017E opern\u00EDm cyklem Richarda Wagnera Prsten Nibelung\u016Fv. Mezi p\u0159edn\u00ED skladatele t\u00E9to \u00E9ry pat\u0159\u00ED Gioacchino Rossini, Petr Ilji\u010D \u010Cajkovskij, Jacques Offenbach, Fr\u00E9d\u00E9ric Chopin, Hector Berlioz, Franz Schubert, Robert Schumann, Felix Mendelssohn-Bartholdy, Franz Liszt, Giuseppe Verdi, Bed\u0159ich Smetana, Richard Wagner, Johannes Brahms, Anton\u00EDn Dvo\u0159\u00E1k, Zden\u011Bk Fibich, Edvard Grieg a Johann Strauss mlad\u0161\u00ED, ale i Gustav Mahler a Richard Strauss."@cs . . . . . . . "Rosen, Charles. 1995. The Romantic Generation. Cambridge, Massachusetts: Harvard University Press. ."@en . . . . "Romantismus (hudba)"@cs . "26136"^^ . "\uB0AD\uB9CC\uC8FC\uC758 \uC74C\uC545(Romantic music) \uB610\uB294 \uB0AD\uB9CC\uD30C\uB294 \uC77C\uBC18\uC801\uC73C\uB85C \uC11C\uC591\uC74C\uC545\uC0AC\uC5D0\uC11C 1815\uB144 \uB098\uD3F4\uB808\uC639\uC758 \uD328\uC804 \uC774\uD6C4\uBD80\uD130 1960\uB144\uAE4C\uC9C0\uC758 \uC74C\uC545\uC744 \uC77C\uCEEB\uB294\uB2E4. (\uC2E4\uC9C8\uC801\uC73C\uB85C\uB294 1890\uB144\uB300\uAE4C\uC9C0) 1890\uB144\uBD80\uD130 1980\uB144\uB300\uAE4C\uC9C0\uC758 \uC74C\uC545\uC744 \uC73C\uB85C \uB530\uB85C \uAD6C\uBD84\uD558\uAE30\uB3C4 \uD55C\uB2E4. \uADF8\uB7EC\uB098 19\uC138\uAE30 \uC11C\uC591\uC74C\uC545\uC774 \uBAA8\uB450 \uB0AD\uB9CC\uC8FC\uC758\uC778 \uAC83\uC740 \uC544\uB2C8\uB2E4. \uD604\uC7AC \uAC00\uC7A5 \uD0C0\uB2F9\uD558\uB2E4\uACE0 \uC0DD\uAC01\uB418\uB294 \uC120\uC5D0\uC11C \uADF8 \uD750\uB984\uC744 \uCD94\uAD6C\uD574 \uBCF4\uBA74 \uC6B0\uC120 \uB3C5\uC77C \uB0AD\uB9CC\uC8FC\uC758\uB85C \uC288\uBCA0\uB974\uD2B8\uC5D0\uC11C \uC288\uB9CC\uAE4C\uC9C0\uB97C \uB2E4\uB8E8\uACE0, \uB3D9\uAE30\uC758 \uB0AD\uB9CC\uD30C\uAD70\uC73C\uB85C\uB294 \uC8FC\uB85C \uD504\uB791\uC2A4\uC640 \uC774\uD0C8\uB9AC\uC544\uC758 \uC624\uD398\uB77C \uC791\uACE1\uAC00\uB098 \uC1FC\uD33D\uC744 \uB4E0\uB2E4. \uADF8\uB9AC\uACE0 \uD6C4\uAE30\uB0AD\uB9CC\uC8FC\uC758\uC758 \uAE38\uB85C \uBCA0\uB97C\uB9AC\uC624\uC988, \uB9AC\uC2A4\uD2B8, \uBC14\uADF8\uB108, \uB9D0\uB7EC\uC758 \uC120\uC774 \uC8FC\uBAA9\uB418\uBA70, \uADF8 \uBC16\uC5D0 \uADF8 \uC8FC\uBCC0\uC774\uB098 \uB610\uB294 \uB300\uB9BD\uC73C\uB85C\uC11C \uBE0C\uB78C\uC2A4, \uBE0C\uB8E8\uD06C\uB108, \uD504\uB791\uC2A4\uC758 \uAD6C\uB178, \uBE44\uC81C, \uC774\uD0C8\uB9AC\uC544\uC758 \uBCA0\uB974\uB514\uB97C \uB4E4 \uC218 \uC788\uB2E4. \uB610\uD55C \uC2A4\uCE78\uB514\uB098\uBE44\uC544\uB098 \uC2AC\uB77C\uBE0C \uAC01\uAD6D\uC5D0 \uB300\uD55C \uB0AD\uB9CC\uD30C\uC758 \uC601\uD5A5\uB3C4 \uB9CC\uB4E4\uC5B4\uC9C4\uB2E4. \uADF8\uB7EC\uBBC0\uB85C \uC18C\uACE1\uC774\uAC74 \uB300\uACE1\uC774\uAC74 \uD45C\uC81C\uAC00 \uB530\uB978 \uC791\uD488\uC774 \uB9CE\uC774 \uB9CC\uB4E4\uC5B4\uC9C0\uACE0, \uB9C8\uCE68\uB0B4\uB294 \uBC14\uADF8\uB108\uC758 \uC624\uD398\uB77C\uC5D0\uC11C \uBCFC \uC218 \uC788\uB4EF\uC774 \uB0AD\uB9CC\uC801\uC778 \uC774\uB150\uACFC \uACE0\uC804\uC801\uC778 \uC774\uB150\uC758 \uACB0\uD569\uC774 \uC774\uB8E8\uC5B4\uC9C0\uBA70, \uD45C\uC81C \uC74C\uC545\uC758 \uB0B4\uC6A9\uC758 \uAE4A\uC740 \uC815\uC2E0\uC131\uC774 \uC11C\uC591\uC74C\uC545\uC758 \uC804\uD1B5\uC744 \uBC30\uACBD\uC73C\uB85C \uC0C8\uB85C\uC6B4 \uD638\uC18C\uB97C \uD558\uAC8C \uB418\uC5C8\uB2E4."@ko . . . . . "\u041C\u0443\u0437\u0438\u0447\u043D\u0438\u0439 \u0440\u043E\u043C\u0430\u043D\u0442\u0438\u0437\u043C, \u044F\u043A \u0445\u0443\u0434\u043E\u0436\u043D\u0456\u0439 \u043D\u0430\u043F\u0440\u044F\u043C\u043E\u043A, \u043F\u043E\u0441\u0442\u0430\u0432 \u043F\u0456\u0441\u043B\u044F 1815 \u0440\u043E\u043A\u0443 \u043F\u0456\u0434 \u0432\u043F\u043B\u0438\u0432\u043E\u043C \u0440\u0430\u043D\u043D\u044C\u043E\u0433\u043E \u043D\u0456\u043C\u0435\u0446\u044C\u043A\u043E\u0433\u043E \u043B\u0456\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u043D\u043E-\u0444\u0456\u043B\u043E\u0441\u043E\u0444\u0441\u044C\u043A\u043E\u0433\u043E \u0440\u043E\u043C\u0430\u043D\u0442\u0438\u0437\u043C\u0443 (\u0424. \u0412. \u0428\u0435\u043B\u043B\u0456\u043D\u0491, \u0416\u0430\u043D \u041F\u043E\u043B\u044C \u0442\u0430 \u0456\u043D.); \u043D\u0430\u0434\u0430\u043B\u0456 \u0440\u043E\u0437\u0432\u0438\u0432\u0430\u0432\u0441\u044F \u0432 \u0442\u0456\u0441\u043D\u043E\u043C\u0443 \u0437\u0432'\u044F\u0437\u043A\u0443 \u0437 \u0440\u0456\u0437\u043D\u0438\u043C\u0438 \u0442\u0435\u0447\u0456\u044F\u043C\u0438 \u043B\u0456\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u0438, \u0436\u0438\u0432\u043E\u043F\u0438\u0441\u0443 \u0456 \u0442\u0435\u0430\u0442\u0440\u0443 (\u0414\u0436. \u0413. \u0411\u0430\u0439\u0440\u043E\u043D, \u0414\u0435\u043B\u0430\u043A\u0440\u0443\u0430, \u0413. \u0413\u0435\u0439\u043D\u0435, \u0410. \u041C\u0456\u0446\u043A\u0435\u0432\u0438\u0447 \u0442\u0430 \u0456\u043D.)."@uk . . "\u6D6A\u6F2B\u4E3B\u7FA9\u97F3\u6A02"@zh . "\u30ED\u30DE\u30F3\u6D3E\u97F3\u697D\uFF08\u30ED\u30DE\u30F3\u306F\u304A\u3093\u304C\u304F\uFF09\u306F\u3001\u53E4\u5178\u6D3E\u97F3\u697D\u3092\u30ED\u30DE\u30F3\u4E3B\u7FA9\u306E\u7CBE\u795E\u306B\u3088\u3063\u3066\u767A\u5C55\u3055\u305B\u3066\u3044\u3063\u305F\u3001\u307B\u307C19\u4E16\u7D00\u306E\u30E8\u30FC\u30ED\u30C3\u30D1\u3092\u4E2D\u5FC3\u3068\u3059\u308B\u97F3\u697D\u3092\u6307\u3059\u3002"@ja . . "Romantyzm w muzyce zacz\u0105\u0142 si\u0119 rodzi\u0107 ju\u017C w tw\u00F3rczo\u015Bci Beethovena. Po rewolucji francuskiej w ca\u0142ej Europie zacz\u0119\u0142y zachodzi\u0107 zmiany o prze\u0142omowym znaczeniu. Najwy\u017Cszym celem romantycznych kompozytor\u00F3w by\u0142o oddawanie uczu\u0107 za pomoc\u0105 \u015Brodk\u00F3w muzycznych. \u017Bywa by\u0142a te\u017C idea korespondencji sztuk. Inne idee romantyczne to: programowo\u015B\u0107, narodowo\u015B\u0107, historycyzm, fantastyka (ba\u015Bniowo\u015B\u0107)."@pl . "Als Musik der Romantik (Romantik von altfranz\u00F6sisch romance \u201ADichtung\u2018, \u201ARoman\u2018) bezeichnet man die vorherrschende Stilrichtung der Musik des 19. Jahrhunderts. Gew\u00F6hnlich werden drei Abschnitte unterschieden: Fr\u00FChromantik, Hochromantik und Sp\u00E4tromantik. Die wichtigsten Eigenschaften der romantischen Musik sind die Betonung des gef\u00FChlvollen Ausdrucks, die Aufl\u00F6sung der klassischen Formen, die Erweiterung und schlie\u00DFlich \u00DCberschreitung der traditionellen Harmonik sowie die Verbindung der Musik mit au\u00DFermusikalischen, h\u00E4ufig literarischen Ideen (Programmmusik)."@de . "Dahlhaus, Carl. 1979. \"Neo-Romanticism\". 19th-Century Music 3, no. 2 : 97\u2013105."@en . . . "Muzyka romantyczna"@pl . . . . . . "Child, Fred. 2006. \"Salonen on Sibelius\". Performance Today. National Public Radio."@en . . "\u041C\u0443\u0437\u0438\u0447\u043D\u0438\u0439 \u0440\u043E\u043C\u0430\u043D\u0442\u0438\u0437\u043C, \u044F\u043A \u0445\u0443\u0434\u043E\u0436\u043D\u0456\u0439 \u043D\u0430\u043F\u0440\u044F\u043C\u043E\u043A, \u043F\u043E\u0441\u0442\u0430\u0432 \u043F\u0456\u0441\u043B\u044F 1815 \u0440\u043E\u043A\u0443 \u043F\u0456\u0434 \u0432\u043F\u043B\u0438\u0432\u043E\u043C \u0440\u0430\u043D\u043D\u044C\u043E\u0433\u043E \u043D\u0456\u043C\u0435\u0446\u044C\u043A\u043E\u0433\u043E \u043B\u0456\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u043D\u043E-\u0444\u0456\u043B\u043E\u0441\u043E\u0444\u0441\u044C\u043A\u043E\u0433\u043E \u0440\u043E\u043C\u0430\u043D\u0442\u0438\u0437\u043C\u0443 (\u0424. \u0412. \u0428\u0435\u043B\u043B\u0456\u043D\u0491, \u0416\u0430\u043D \u041F\u043E\u043B\u044C \u0442\u0430 \u0456\u043D.); \u043D\u0430\u0434\u0430\u043B\u0456 \u0440\u043E\u0437\u0432\u0438\u0432\u0430\u0432\u0441\u044F \u0432 \u0442\u0456\u0441\u043D\u043E\u043C\u0443 \u0437\u0432'\u044F\u0437\u043A\u0443 \u0437 \u0440\u0456\u0437\u043D\u0438\u043C\u0438 \u0442\u0435\u0447\u0456\u044F\u043C\u0438 \u043B\u0456\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u0438, \u0436\u0438\u0432\u043E\u043F\u0438\u0441\u0443 \u0456 \u0442\u0435\u0430\u0442\u0440\u0443 (\u0414\u0436. \u0413. \u0411\u0430\u0439\u0440\u043E\u043D, \u0414\u0435\u043B\u0430\u043A\u0440\u0443\u0430, \u0413. \u0413\u0435\u0439\u043D\u0435, \u0410. \u041C\u0456\u0446\u043A\u0435\u0432\u0438\u0447 \u0442\u0430 \u0456\u043D.)."@uk . .