Editing Romantic music (section)

==Traits==
The classical period often used short, even fragmentary, thematic material while the Romantic period tended to make greater use of longer, more fully defined and more emotionally evocative themes.<ref>{{Cite web |last=Wildridge |first=Dr Justin |date=2019-04-18 |title=Classical vs Romantic Music (Differences Between Classical And Romantic Music) |url=https://www.cmuse.org/classical-vs-romantic-music/ |access-date=2022-10-17 |website=CMUSE}}</ref>

Characteristics often attributed to Romanticism:

* a new preoccupation with and surrender to nature;<ref name=":09">{{Cite web|last=Wildridge|first=Dr Justin|title=Characteristics of Romantic Era Music - CMUSE|url=https://www.cmuse.org/characteristics-of-romantic-era-music/|access-date=2021-11-09|website=Cmuse.org|date=15 July 2018}}</ref>
*a turn towards the mystic and supernatural, both religious and unearthly;<ref>{{Cite web|title=Composers on Nature|url=https://www.allclassical.org/composers-on-nature/|access-date=2021-11-09|website=All Classical Portland}}</ref>
*a focus on the nocturnal, the ghostly, the frightful, and terrifying;<ref>{{Cite journal|last=Boyd|first=Delane|date=2016-05-01|title=Uncanny Conversations: Depictions of the Supernatural in Dialogue Lieder of the Nineteenth Century|url=https://digitalcommons.unl.edu/musicstudent/99|journal=Student Research, Creative Activity, and Performance - School of Music|pages=9–13}}</ref>
*a new attention given to national identity;<ref name=":09"/>
*discontent with musical formulas and conventions;<ref name=":09"/>
*a greater emphasis on [[melody]] to sustain musical interest;<ref name=":1"/>
*increased chromaticism;<ref name=":09"/>
*a harmonic structure based on movement from [[Tonic (music)|tonic]] to [[subdominant]] or alternative keys rather than the traditional [[Dominant (music)|dominant]], and use of more elaborate harmonic [[Chord progression|progressions]] (Wagner and Liszt are known for their experimental progressions);<ref name=":09"/>
*large, grand orchestras were common during this period;<ref name=":09"/>
*increase in virtuosic players featured in orchestrations;<ref name=":09"/>
*the use of new or previously not so common [[Musical form|musical structures]] like the [[song cycle]], [[nocturne]], concert etude, [[Arabesque (classical music)|arabesque]], and [[Rhapsody (music)|rhapsody]], alongside the traditional classical genres;<ref name=":1">{{Cite web|title=The Romantic Period of Music|url=https://www.connollymusic.com/stringovation/the-romantic-period-of-music|access-date=2021-11-16|website=Connollymusic.com}}</ref>
*[[Program music]] became somewhat more common;<ref name=":1" />
*the use of a wider range of [[Dynamics (music)|dynamics]], for example from '''''ppp''''' to '''''fff''''' (from pianississimo, or very, very quiet to fortississimo, very, very loud), supported by large [[orchestration]];<ref name=":09"/>
*a greater [[Range (music)|tonal range]] (for example, using the lowest and highest notes of the piano);<ref name=":09"/>

In music, there is a relatively clear dividing line in musical structure and form following the death of Beethoven. Whether one counts Beethoven as a "romantic" composer or not, the breadth and power of his work gave rise to a feeling that the classical [[sonata form]] and, indeed, the structure of the symphony, sonata and string quartet had been exhausted.<ref>{{Cite thesis|last=Hammond|first=Kathryn|date=1965|title=The Sonata Form and its Use in Beethoven's First Seventeen Piano Sonatas |url=https://digitalcommons.usu.edu/etd/2819 |type=MA thesis |publisher=Utah State University |pages=26–28 |doi=10.26076/6295-2596}}</ref>