He did not go as far as the later romantics in terms of utilizing exotic melodies from Oriental music. As noted by Mies, he was aware of this sort of music; however, he was inspired much more by the concept behind the music than by the melodies themselves. Thus, for example, though some things of Turkish music can also be witnessed in Beethoven's Ninth Symphony, they have been "symbolically transmuted" to be able to serve the composer's unique wishes. Over a other hand, there's no doubt that Beethoven made use of folk song melodies in several of his compositions. During the late part of his career, Beethoven made arrangements of more than 150 folk songs, and his song cycle An Die Ferne Geliebte (1816) created extensive use of folk song material as "a basis for song composition." There are numerous other examples of the use of folk melodies to be found among Beethoven's later works. For example, "simple tiny tunes evocative of folksong and folkdance are continually turning up during the late quartets as well as other music."
One with the strongest ways that Beethoven influenced romantic music was in his use of emotional expression. Beethoven's musical variety was far more expressive and individualistic than ever before. He often created use of expressive dynamics in his work, and he often scored the instruments to amount from quite soft to really loud inside several seconds. He also experimented on the highest and lowest feasible registers from the instruments so that you can furthe
Kerman, Joseph, and Alan Tyson. "Ludwig van Beethoven." The New Grove Dictionary of Music and Musicians. Volume 2. Stanley Sadie, ed. London: Macmillan Publishers, 1980, 354-414.
Claudon, Francis. The Concise Encyclopedia of Romanticism. Secaucus, N.J.: Chartwell Books, 1980.
Beethoven also created an important contribution to romantic music with his expanded use of harmony. During the romantic period, harmony gradually developed from the strict tonality which was characteristic of classical music toward the expanded use of chromaticism which was characteristic from the late romantics like Wagner. Beethoven's sort of music took important steps toward this expanded use of harmony. In his work, Beethoven produced harmonies which created use of each classical and romantic elements. Again, he was grounded during the classical tradition, yet was continually searching for methods to push beyond that tradition. Inside the words of Mies, "tonality is often firmly established with Beethoven, but his number of modulation and harmonic connection exceeds that of his predecessors." One of Beethoven's common harmonic devices was the "juxtaposition of remote keys." During the traditional period, there were very strict rules for the use of tonality. A classical composition was expected to be inside a particular key, and that key was expected to be established during the first few bars of music. In classical music, the use of contrasting keys also had its personal unique rules. Beethoven's abandonment of these rules was certainly not as extreme as that of Wagner or another later-day romantics. Nevertheless, in his quest for making a very own musical statement, Beethoven was willing to discard the classical rules of harmony to a big extent. One famous instance of Beethoven's expanded use of harmony is also noticed in his Very first Symphony (1800). The very first movement of this symphony breaks with tradition because it doesn't commence on the sound of the tonic chord. During the classical period.
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