Introduction
Music genre is a typological and categorical construct that identifies musical sounds as belonging to a particular category and type of music, which can be distinguished from other types of music (Moy, 2004). Music can be divided in various ways, and it has different genres that can also be categorized in several ways. Due to the different purposes behind them and the different points of view from which they are made, these classifications are often arbitrary and controversial. Closely related genres often overlap (Longhurst, 2007). Many people do not believe that generic classification of musical genres is possible in any logically consistent way. They tend to think that doing so sets limitations and boundaries that act as barriers to music development. There is no doubt that it is easier to note similarities between musical pieces when there are exceptions and caveats associated with them (Moy, 2004).
Discussion
There are different genres, some with differences and similarities.
The first example is commonly referred to as lieder in plural. The rise of lied was fueled by the outpouring of lyric poetry that marked German Romanticism. The texts of lieder range from tender sentiment to dramatic balladry, with universal themes such as love, longing, and the beauty of nature. This genre made Romantic art popular, especially when accompanied by the piano – which was the available instrument during the nineteenth century (Moy, 2004). The accompaniment of piano to a song translated its poet’s images into music. The combination of voice and piano infused short lyric forms with feeling and made them suitable for both amateurs and artists alike in homes and concert halls.
The other genre is orchestration, where composers were provided with palettes as broad as those of painters. These palettes were used to create mood and atmosphere while also evoking profound emotional responses. With this development, it was no longer easy to direct an orchestra from the keyboard or the first violin desk, as had been tradition in the eighteenth century. Therefore, the conductor became the central figure needed to conduct the choir (Munste & Nils, 2001). This brings literature closer to painting and creates a connection with romantic poetry and drama where music has words. Orchestral music responds to the music of its time and vividly captures the emotional atmosphere that surrounded nineteenth-century poetry and painting (Moy, 2004).
During the romantic era, the piano played a significant role in shaping musical culture. Unlike wind and string instruments, the piano allowed for both melody and harmony to be performed on one instrument simultaneously, making it an attractive option for amateurs (Munste & Nils, 2001). One popular genre was four-hand piano music, which involved two performers playing on one piano or sometimes two. This chamber music form allowed for orchestral and large ensemble music to be adapted for salon and home performances. As a result, the piano played a crucial role in introducing new mass audiences to classical music. Short lyric pieces written for the piano were also popular as they provided an equivalent experience to that of a song.
Conclusion.
The piano piece played a significant role in shaping the musical culture of the Romantic era. Composers used orchestration techniques that provided them with palettes to create moods and evoke profound emotional responses. Meanwhile, the lied was utilized to express love, longing, and the beauty of nature.
References
Longhurst, B. (2007). Popular Music and Society. Hyderabad: Polity.
Moy, R. (2004). Popular Music Genres: An Introduction. New York: Routledge.
Munster, H. and Nils, A. (2001). Handbuch des Friesischen: Pro und Kontra.” Berlin: Walter de Gruyter.
