The Composer Who Founded The New Journal Of Music Was:?
| Front page banner of NZM, issue of 30 April 1850. | |
| Categories | Music |
|---|---|
| Frequency | Monthly |
| Founder | Robert Schumann, Friedrich Wieck, and Ludwig Schuncke |
| Company | Schott Music |
| Country | Germany |
| Language | German |
| Website | musikderzeit,de |
| ISSN | 0945-6945 |
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We beg you, in all modesty, to refrain from scrolling away from this page. If you are one of our very few donors, please accept our sincere gratitude. The Neue Zeitschrift für Musik is a music journal that was co-founded in Leipzig by Robert Schumann, his instructor and future father-in-law Friedrich Wieck, and his close friend Ludwig Schuncke.
Which composer founded a music journal served as it’s editor and lead writer for ten years and was known as a perceptive critic?
The son of a bookstore, he began his musical career at an early age, demonstrating talent as a pianist and an interest in writing music in addition to his literary predilections. In 1821, he travelled to Leipzig with the intention of studying law there; nevertheless, he spent his time engaging in activities related to music, society, and literature instead.
He was also a student of Friedrich Wieck, who taught him to compose some piano music. After spending some time at Heidelberg, where he pretended to study law but was actually learning music, he convinced his family that he should pursue a career as a pianist rather than a legal one, and in 1830 he moved in with Wieck in Leipzig.
In 1834, Schumann established a music magazine known as the “Neue Zeitschrift für Musik,” and he served as the publication’s editor and primary contributor for a period of 10 years. His essays exemplify the most forward-thinking features of musical thought during his time period, and he brought a lot of up-and-coming composers to the public’s attention.
- He was a clever and insightful critic.
- Sometimes he would write under a pseudonym, such as Eusebius, which would represent his poetic and reflective side, and Florestan, which would represent his fiery and impulsive side.
- He would also employ these pseudonyms in his music.
- His compositions at this time were primarily for the piano.
They include variations on the name of one of his lady friends, Abegg (the musical notes A-B-E-G-G), as well as character pieces such as Davidsbändlertanze (“Dances of the league of David”), Carnaval, Phantasiestcke, Kreisleriana, and Kinderszenen. Relationships with other people were a significant focus of his life.
- By 1835, he had developed romantic feelings for Wieck’s little daughter Clara, but Wieck did all in his power to keep them apart.
- In 1837, they made a commitment to one another, but they were physically far from one another, and Schumann struggled with severe despair.
- In the year 1839, they performed the required legal processes to make Wieck’s approval superfluous.
In the year 1840, after many more legal battles, they were finally permitted to get married. In the year 1841, Schumann began composing orchestral music. He created symphonies as well as a lovely, romantic piece for piano and orchestra that he dedicated to Clara and that he subsequently revised as the opening movement of his Piano Concerto.
- Then in 1842, while Clara was away on a concert tour, he turned to chamber music and wrote his three string quartets and three works with piano.
- Of these, the Piano Quintet has always been a favorite due to the freshness and Romantic warmth of its ideas, and it was written while Clara was away on her concert tour.
In the year 1843, he began composing choral music, focusing on a secular oratorio while also attempting to arrange a portion of Goethe’s “Faust.” In addition to this, he started working as a professor at the new conservatory in Leipzig, which Mendelssohn had founded and was the director of.
However, as a teacher, he was ineffective, and as a conductor, he achieved only modest levels of success. In 1844, he and Clara relocated to Dresden, but he continued to suffer from severe melancholy, which stunted his creative output. It wasn’t until 1847 and 1848 that he resumed his prolific streak, creating songs, chamber music, and the opera Genoveva.
In the year 1850, he accepted a position as the town musical director in Düsseldorf. He was initially joyful and productive, creating the lyrical Cello Concerto as well as the Rhenish Symphony; nonetheless, the job turned out to be a failure due to his careless conducting of the orchestra.
What was the name of Schumann’s magazine and why was it important?
Date and time of publication: May 31, 2010, 9:53 AM EDT Robert Schumann, a German Romantic composer and one of the most famous music critics of all time, was born on June 8, 1810, making his birth day exactly 200 years ago. In honor of his 200th birthday, we will spend the day listening to some of his most well-known works, including pieces for orchestra, piano, and chamber ensemble, as well as those of his works that are performed less frequently.
Schumann initiated the publication known as Die Neue Zeitschrift für Musik (New Magazine of Music) in the year 1834. This journal went on to become one of the most influential musical journals of the 19th century. In its pages, Schumann defended the work of the composers he admired and contributed to the development of the listening preferences of a new generation of music enthusiasts.
Schumann was one of the most influential composers of his time, and if it weren’t for him, we probably wouldn’t be familiar with Brahms’ music, nor would we have ever heard Schubert’s Symphony No.9, because Schumann was ultimately responsible for introducing both of them to the public.
What is the Neue Zeitschrift für Musik?
Influence in the field of music criticism – In terms of musical analysis, the historical progression 1834 was the year that he started publication of the monthly titled “Neue Zeitschrift für Musik,” which later became known as “New Journal for Music.” He served as the journal’s editor in chief for a period of ten years.
What did an important Romantic composer do?
| The following piano sonata was composed by one of the first female virtuoso performers. Identify this composer. | Clara Wieck Schumann |
| The following difficult piece for the violin was written by one of the few musicians of the time who could play it. Identify this composer. | Paganini |
| According to the text, the Traditionalists were composers of the Romantic era who: | Held reverence for the music of the masters |
| According to the text, which of the following are Post-Romantic composers? | Rachmaninoff and Holst |
| An important Romantic composer founded The New Journal of Music, an influential musical periodical in which this same composer frequently published his own musical criticism and promoted the works of other musicians. His name is: | Schumann |
| Who was NOT a nationalist composer? | Liszt |
| Which of the following excerpts features frequently changing tempos? | Excerpt B |
| Which of the following was not a member of the Five? | Pyotr Tchaikovksy |
| Which of the following was NOT known as a composer of choral music? | Chopin |
| Which one of these composers was considered a national hero in his homeland? | Jean Sibelius |
| The melody in this composition is representative of Romantic music because it: | Is long, flowing, and lyrical |
| The composer pictured above, an international artist of Hungarian heritage, decided to become a technical wizard at the keyboard after hearing Paganini playing the violin. What is his name? | Liszt |
| Which of the following excerpts is most likely a composition by Paganini? | Excerpt C |
| During the Romantic period, choral music enjoyed its highest popularity since the Renaissance period. | True |
| The composer pictured above is best known for taking older forms and styles and redefining them in modern ways. Antonín Dvorák was inspired by his Hungarian Dance No.1. What is this composer’s name? | Brahms |
| The dynamics of this excerpt indicate that it was composed in the Romantic period because: | Dynamics range from extreme soft to very loud |
| From the following composers, select the one that best understood the intrinsic nature and potential of the piano as an expressive instrument: | Frédéric Chopin |
| The following choral work, based on the German Bible, was written by: | Brahms |
| An important artistic product of the Romantic period was: | Vincent van Gogh’s paintings |
| Which of the following composers, upon arriving in Paris in 1831, quickly became closely associated with the most prominent intellectuals, artists, musicians, political activists, and financiers of his day, thus launching his career? | Frédéric Chopin |
| Which one of the following is not a general characteristic of Romantic music: | Compositions were based on logic and controlled feelings. |
| According to the text, art of the Romantic period valued emotional restraint and clarity of form. | False |
| In broad terms, music and the other arts of the Romantic period | Gave full expression to a wide range of feelings, dreams, and the heroic human potential. |
| This excerpt is representative of Romantic music because | It expresses strong emotion through extreme loud and soft dynamics, wide pitch ranges, and a variety of timbres. |
| The following excerpt is from Chopin’s Revolutionary Étude. | False |
| Which of the following statements best describes musical form in the Romantic period? | Romantic composers worked with traditional forms but expanded them in innovative ways to meet their expressive needs. |
| Which of the following is not a composer from the Romantic period? | Eugene Delacroix |
| Which of the following statements best characterizes the “mood” of the Romantic period? | Rules and logic are less important that the free expression of human feelings. Humans can only “fully become” by exploring their inner feelings. |
| The Five was a group of nationalist composers who sought to incorporate elements of _ in their work. | Russian music |
| The following selection is from Berlioz’s Symphony Fantastique. | False |
| The name of the composer pictured above, who wrote more than 600 art songs (lieder), is: | Franz Schubert |
| During the Romantic period, most composers were: | Independent business persons, earning their living by performing music, writing music for specific occasions and commissions, and collecting royalties on published music. |
| The dance-like characteristics of the following piece indicate that it was written by: | Chopin |
| According to the text, Romantic composers abandoned the principles of unity and variety in pursuit of more innovative and expressive sounds. | False |
| According to the text, composers of the Romantic period were reluctant to stray from the seven tones of the traditional scale (i.e., A, B, C, D, E, F, G). | False |
| Which of the following is an example of increasing tempo (accelerando), and the increasing excitement that goes with it? | Excerpt D |
| This composer pictured above wrote The Blue Danube, arguably the most famous waltz of all time. His name is: | Johann Strauss Jr. |
| Changes in tempo were rarely found in music of the Romantic period, in keeping with Classical period values. | False |
| Notes that don’t belong to the traditional scale are known as _ alterations. | Chromatic |
| Which of the following composers envisioned operas as “musical dramas”—a combination of all the arts? | Wagner |
| According to the text, which of the following is NOT considered a form of program music? | Mazurka |
| The course places the Romantic period in music between the years: | 1820 – 1910 |
| A musical genius, but also someone with strong anti-Semitic views, the man pictured above was one of the most influential composers of the Romantic Period. His name is: | Richard Wagner |
| Romantic Period | 1820-1900 |
| romantic rhythm | extremely diverse and tempos are flexible |
| Romantic Dynamics | changes can be sudden or gradual with extremely wide ranges |
| tone color | wide range of expressive tone color and sensous sound |
| romantic melody | long complex, and highly expressive |
| chromatic harmony | harmony utilizing chords built on the five chromatic notes of the scale in addition to the seven diatonic ones; produces rich harmonies |
| dissonance | used more freely in the romantic period |
| Romantic Texture | -predominantly homophonic -dense and rich |
| romantic form | Expansion of forms and interest in continuous as well as miniature programmatic forms |
| the romantic composer | independent, working class, studied philanthropic studies, |
| art song | a composition for solo voice and piano |
| art song theme | nature, legends, love |
| song cycle | a collection of several songs united by a common textual theme or literary idea |
| Franz Schubert | 1797-1828 |
| schubert music | composed over 170 songs, 2 symphonies, an opera, and a mass by 20 |
| schubert most famous | unfinished symphony |
| Schubert most famous lieder | erkling |
| Lieder | German art songs |
| Robert Schumann | 1810-1856 |
| Schumanns goal | becoming a virtuoso pianist |
| Schumanns weakness | his right hand due to some illness |
| Married Clara Wieck | Schumann |
| Schumanns first musical pieces were | for the piano |
| Fredrick Chopin | 1810-1849 |
| Chopin wrote for | piano |
| where did Chopin play | saloons |
| franz list | 1810-1849 |
| franz list was considered | the best pianist of all time |
| list quit performing at 19 | to study the piano |
| handsome and irresistible to women | franz list |
| list piano compositions | were sometimes so difficult that only he could play them |
| list created a new form | symphonic |
| Felix Mendlessohn | 1809-1847 |
| Mendlessohn | wrote all music forms except opera |
| A Midsummer Night’s Dream | Mendelssohn |
| program music | instrumental music associated with a story, poem, idea, or scene |
| program music imitated | sounds from nature or everyday life |
| Nationalism | A strong feeling of pride in and devotion to one’s country |
| influenced music | composers deliberately gave their music distinctive national identity |
| program symphony | a symphony with the usual three, four, or five movements in which the individual movements together tell a tale or depict a succession of specific events or scenes |
| concert overture | a piece of music in the style of an overture modeled after an opera but intended for independent performance. |
| symphonic poem/tone poem | Programmatic composition for orchestra in one movement, which may have a traditional form (such as sonata or rondo) or an original, irregular form. |
| incidental music | music intended to be performed before and during a play, setting the mood for the drama |
| Smetana: The Moldau | A nationalistic tone poem that portrays the programmatic images of a Czech river. |
| Peter llyich Tchaikovsky | 1840-1893 |
| Tchaikovsky | The most famous Russian composer |
| famous Tchaikovsky music | nutcracker, swan lake, sleeping beauty |
| 1812 Overture | celebrates Russias victory over France |
| Johann Brahms | 1833-1897 |
| Clara wieks bestfriend and potential lover | Johann Brahms |
| Brahms music | wrote in all forms except opera, did not invent new forms, 4 symphonies, over 200 art songs, |
| A German Requiem | Sacred choral work Johannes Brahms 1868 |
| Giuseppe Verdi | 1813-1901 |
| verdi songs | Rigoletto, IL Trovatore |
| Giacomo Puccini | 1858-1924 |
| Puccini tried to. make operas | understandable and easy for the common people |
| Puccini compositions | la bohemeur, tosca, madame butterfly, turandot |
| Richard Wagner | 1813-1883 |
| who influenced Wagner | Beethoven |
| Wagner lived a hard life | dueled, drank, gambled |
| Wagner wanted to be a | playwright and poet |
| Leitmotif | a recurrent theme throughout a musical or literary composition, associated with a particular person, idea, or situation. |
| The Ring of the Nibelung | Wagner |
What did Robert Schumann write about music?
Influence in the field of music criticism – In terms of musical analysis, the historical progression 1834 was the year that he started publication of the monthly titled “Neue Zeitschrift für Musik,” which later became known as “New Journal for Music.” He served as the journal’s editor in chief for a period of ten years.
Why did Romantic composers abandon unity and variety?
| The following piano sonata was composed by one of the first female virtuoso performers. Identify this composer. | Clara Wieck Schumann |
| The following difficult piece for the violin was written by one of the few musicians of the time who could play it. Identify this composer. | Paganini |
| According to the text, the Traditionalists were composers of the Romantic era who: | Held reverence for the music of the masters |
| According to the text, which of the following are Post-Romantic composers? | Rachmaninoff and Holst |
| An important Romantic composer founded The New Journal of Music, an influential musical periodical in which this same composer frequently published his own musical criticism and promoted the works of other musicians. His name is: | Schumann |
| Who was NOT a nationalist composer? | Liszt |
| Which of the following excerpts features frequently changing tempos? | Excerpt B |
| Which of the following was not a member of the Five? | Pyotr Tchaikovksy |
| Which of the following was NOT known as a composer of choral music? | Chopin |
| Which one of these composers was considered a national hero in his homeland? | Jean Sibelius |
| The melody in this composition is representative of Romantic music because it: | Is long, flowing, and lyrical |
| The composer pictured above, an international artist of Hungarian heritage, decided to become a technical wizard at the keyboard after hearing Paganini playing the violin. What is his name? | Liszt |
| Which of the following excerpts is most likely a composition by Paganini? | Excerpt C |
| During the Romantic period, choral music enjoyed its highest popularity since the Renaissance period. | True |
| The composer pictured above is best known for taking older forms and styles and redefining them in modern ways. Antonín Dvorák was inspired by his Hungarian Dance No.1. What is this composer’s name? | Brahms |
| The dynamics of this excerpt indicate that it was composed in the Romantic period because: | Dynamics range from extreme soft to very loud |
| From the following composers, select the one that best understood the intrinsic nature and potential of the piano as an expressive instrument: | Frédéric Chopin |
| The following choral work, based on the German Bible, was written by: | Brahms |
| An important artistic product of the Romantic period was: | Vincent van Gogh’s paintings |
| Which of the following composers, upon arriving in Paris in 1831, quickly became closely associated with the most prominent intellectuals, artists, musicians, political activists, and financiers of his day, thus launching his career? | Frédéric Chopin |
| Which one of the following is not a general characteristic of Romantic music: | Compositions were based on logic and controlled feelings. |
| According to the text, art of the Romantic period valued emotional restraint and clarity of form. | False |
| In broad terms, music and the other arts of the Romantic period | Gave full expression to a wide range of feelings, dreams, and the heroic human potential. |
| This excerpt is representative of Romantic music because | It expresses strong emotion through extreme loud and soft dynamics, wide pitch ranges, and a variety of timbres. |
| The following excerpt is from Chopin’s Revolutionary Étude. | False |
| Which of the following statements best describes musical form in the Romantic period? | Romantic composers worked with traditional forms but expanded them in innovative ways to meet their expressive needs. |
| Which of the following is not a composer from the Romantic period? | Eugene Delacroix |
| Which of the following statements best characterizes the “mood” of the Romantic period? | Rules and logic are less important that the free expression of human feelings. Humans can only “fully become” by exploring their inner feelings. |
| The Five was a group of nationalist composers who sought to incorporate elements of _ in their work. | Russian music |
| The following selection is from Berlioz’s Symphony Fantastique. | False |
| The name of the composer pictured above, who wrote more than 600 art songs (lieder), is: | Franz Schubert |
| During the Romantic period, most composers were: | Independent business persons, earning their living by performing music, writing music for specific occasions and commissions, and collecting royalties on published music. |
| The dance-like characteristics of the following piece indicate that it was written by: | Chopin |
| According to the text, Romantic composers abandoned the principles of unity and variety in pursuit of more innovative and expressive sounds. | False |
| According to the text, composers of the Romantic period were reluctant to stray from the seven tones of the traditional scale (i.e., A, B, C, D, E, F, G). | False |
| Which of the following is an example of increasing tempo (accelerando), and the increasing excitement that goes with it? | Excerpt D |
| This composer pictured above wrote The Blue Danube, arguably the most famous waltz of all time. His name is: | Johann Strauss Jr. |
| Changes in tempo were rarely found in music of the Romantic period, in keeping with Classical period values. | False |
| Notes that don’t belong to the traditional scale are known as _ alterations. | Chromatic |
| Which of the following composers envisioned operas as “musical dramas”—a combination of all the arts? | Wagner |
| According to the text, which of the following is NOT considered a form of program music? | Mazurka |
| The course places the Romantic period in music between the years: | 1820 – 1910 |
| A musical genius, but also someone with strong anti-Semitic views, the man pictured above was one of the most influential composers of the Romantic Period. His name is: | Richard Wagner |
| Romantic Period | 1820-1900 |
| romantic rhythm | extremely diverse and tempos are flexible |
| Romantic Dynamics | changes can be sudden or gradual with extremely wide ranges |
| tone color | wide range of expressive tone color and sensous sound |
| romantic melody | long complex, and highly expressive |
| chromatic harmony | harmony utilizing chords built on the five chromatic notes of the scale in addition to the seven diatonic ones; produces rich harmonies |
| dissonance | used more freely in the romantic period |
| Romantic Texture | -predominantly homophonic -dense and rich |
| romantic form | Expansion of forms and interest in continuous as well as miniature programmatic forms |
| the romantic composer | independent, working class, studied philanthropic studies, |
| art song | a composition for solo voice and piano |
| art song theme | nature, legends, love |
| song cycle | a collection of several songs united by a common textual theme or literary idea |
| Franz Schubert | 1797-1828 |
| schubert music | composed over 170 songs, 2 symphonies, an opera, and a mass by 20 |
| schubert most famous | unfinished symphony |
| Schubert most famous lieder | erkling |
| Lieder | German art songs |
| Robert Schumann | 1810-1856 |
| Schumanns goal | becoming a virtuoso pianist |
| Schumanns weakness | his right hand due to some illness |
| Married Clara Wieck | Schumann |
| Schumanns first musical pieces were | for the piano |
| Fredrick Chopin | 1810-1849 |
| Chopin wrote for | piano |
| where did Chopin play | saloons |
| franz list | 1810-1849 |
| franz list was considered | the best pianist of all time |
| list quit performing at 19 | to study the piano |
| handsome and irresistible to women | franz list |
| list piano compositions | were sometimes so difficult that only he could play them |
| list created a new form | symphonic |
| Felix Mendlessohn | 1809-1847 |
| Mendlessohn | wrote all music forms except opera |
| A Midsummer Night’s Dream | Mendelssohn |
| program music | instrumental music associated with a story, poem, idea, or scene |
| program music imitated | sounds from nature or everyday life |
| Nationalism | A strong feeling of pride in and devotion to one’s country |
| influenced music | composers deliberately gave their music distinctive national identity |
| program symphony | a symphony with the usual three, four, or five movements in which the individual movements together tell a tale or depict a succession of specific events or scenes |
| concert overture | a piece of music in the style of an overture modeled after an opera but intended for independent performance. |
| symphonic poem/tone poem | Programmatic composition for orchestra in one movement, which may have a traditional form (such as sonata or rondo) or an original, irregular form. |
| incidental music | music intended to be performed before and during a play, setting the mood for the drama |
| Smetana: The Moldau | A nationalistic tone poem that portrays the programmatic images of a Czech river. |
| Peter llyich Tchaikovsky | 1840-1893 |
| Tchaikovsky | The most famous Russian composer |
| famous Tchaikovsky music | nutcracker, swan lake, sleeping beauty |
| 1812 Overture | celebrates Russias victory over France |
| Johann Brahms | 1833-1897 |
| Clara wieks bestfriend and potential lover | Johann Brahms |
| Brahms music | wrote in all forms except opera, did not invent new forms, 4 symphonies, over 200 art songs, |
| A German Requiem | Sacred choral work Johannes Brahms 1868 |
| Giuseppe Verdi | 1813-1901 |
| verdi songs | Rigoletto, IL Trovatore |
| Giacomo Puccini | 1858-1924 |
| Puccini tried to. make operas | understandable and easy for the common people |
| Puccini compositions | la bohemeur, tosca, madame butterfly, turandot |
| Richard Wagner | 1813-1883 |
| who influenced Wagner | Beethoven |
| Wagner lived a hard life | dueled, drank, gambled |
| Wagner wanted to be a | playwright and poet |
| Leitmotif | a recurrent theme throughout a musical or literary composition, associated with a particular person, idea, or situation. |
| The Ring of the Nibelung | Wagner |