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Music of the Romantic Period

Code: 100639 ECTS Credits: 6
Degree Type Year Semester
2500240 Musicology OB 3 1
The proposed teaching and assessment methodology that appear in the guide may be subject to changes as a result of the restrictions to face-to-face class attendance imposed by the health authorities.


Francesc D Assi Cortes Mir

Use of Languages

Principal working language:
catalan (cat)
Some groups entirely in English:
Some groups entirely in Catalan:
Some groups entirely in Spanish:


Francesc D Assi Cortes Mir
Alicia Daufi Muņoz


It's compulsory to have a minimum of knowing in musical analysis.

Objectives and Contextualisation

4.1. Study of the social and cultural context. 

 4.2. Formative objectives:

1. Identify the different patterns.

2. Knowing the technical base, and his chronological evolution. 

3. Arguing correctly the listening activities. Raonar analíticament a través d’audicions els trets cabdals d’obres pertanyents al moment històric estudiat.

4. Knowing the different periods, with features, composition techniques, and his aesthetics links. 

5.Use properly the bibliograhy and terminology of the Romantic period.


  • Critically analyse musical works from any of the points of view of the discipline of musicology.
  • Developing critical thinking and reasoning and communicating them effectively both in your own and other languages.
  • Identify and compare the different channels of reception and consumption of music in society and in culture in each period.
  • Know and understand the historical evolution of music, its technical, stylistic, aesthetic and interpretative characteristics from a diachronic perspective.
  • Relate concepts and information from different humanistic, scientific and social disciplines, especially the interactions which are established between music and philosophy, history, art, literature and anthropology.
  • Relate knowledge acquired to musical praxis, working with musicians through the analysis and contextualisation of different repertoires, both related to historical music and to the different manifestations of contemporary music.
  • Students must be capable of applying their knowledge to their work or vocation in a professional way and they should have building arguments and problem resolution skills within their area of study.
  • Students must be capable of communicating information, ideas, problems and solutions to both specialised and non-specialised audiences.
  • Students must have and understand knowledge of an area of study built on the basis of general secondary education, and while it relies on some advanced textbooks it also includes some aspects coming from the forefront of its field of study.

Learning Outcomes

  1. Analysing ideas about an artistic phenomenon in a given cultural context.
  2. Analysing the creators of an artistic phenomenon in a specific cultural context.
  3. Analysing the recipients of an artistic phenomenon in a specific cultural context.
  4. Apply the conceptualisation of philosophy, history, literature and anthropology to musical research.
  5. Consider the subject as a whole and identify the context in which the processes studied are inscribed and their interrelationship with the elements and factors that are involved in their sociohistorical development.
  6. Contextualise musical works in their hsitorical and cultural setting from a critical perspective.
  7. Correctly identify the essential repertoire and the main composers of each historical period.
  8. Critically identify the different orientations of musical praxis that musicians apply to the music of each hsitorical period.
  9. Define the processes of periodisation and stylistic classification and usual typology in the historical conceptualisation of the musical fact.
  10. Identify and critically place different musical typologies in their historical periods.
  11. Identify phenomena of the circulation of ideas in music proficiency.
  12. Identify the complexity of music reception processes.
  13. Identify the stylistic properties of each historical period.
  14. Identifying the context of the historical processes.
  15. Identifying the main and secondary ideas and expressing them with linguistic correctness.
  16. Identifying the specific methods of history and their relationship with the analysis of particular facts.
  17. Integrate knowledge acquired in the production of clear and concise appropriate to the academic and specialist communication.
  18. Interpret the most important theoretical texts of each period.
  19. Interrelate technological and scientific changes in each period with the creation and reception of music.
  20. Link the periods of the history of music to periods of the history of art, in their similarities and differences.
  21. Present knowledge about the history, art or other cultural movements.
  22. Produce correct, precise and clear argumental and terminological writing of knowledge acquired, both in the area of musical specialisation and dissemination.
  23. Recognise in musical praxis element of different cultures and different historical periods.
  24. Solve problems of a methodological nature in the area of musicology.
  25. Use specific vocabulary of history correctly.
  26. Use the vocabulary of musicology related to each period of history.


1. The Romanticisme period: origins, signifiances.

2. Others determinants: music nacionalism, the genius, the birth of the musicology, society and musical uses.

3. Musical language in the XIXth century

            3.1. The novelty as a concept.

            3.2. The musical form.

            3.3. Melody and harmony: complex and originality.

            3.4. The romantic orchestra.

            3.5. Sacred music.

           3.6. El concepto de modelo: focos y periferias.

4. From the beginning to 1830.

5. The asthetical turn between 1830 and 1848: the rising of Romanticism.


Music in the second half of 19th Century

6. The Great Boom of the orchestral music

  1. Musical panorama after "The Spring of Nations"in the middle of 19th Century.
  2. Progressivism in the instrumental music: "The New German School" and the tone poem in Franz Liszt.
  3. Neoclassical continuity and the success of musical repertoire: Johannes Brahms, the unintended bearer of the aesthetic formalism in music.
  4. Symphony as a conception of the World: Anton Bruckner and Gustav Mahler.

7. The irruption of "peripheral" nationalisms

  1. Historical and conceptual backgrounds of Nationalism.
  2. A false problem: trunk nationalisms versus peripheral nationalisms.
  3. Nations state and historical nations:The cases of Russian musical nationalism and Czech musical nationalism.

8. Symbiosis between music an Arts at the end of 19th Century

  1. Symbolism and music in Paris.
  2. Modernist Secession in Vienna.



 The course combines theoritical matters withe the practice. It's very important relate romantic music with art, literature and science of the time. For the best understanding, you should link the sociopolitical and economical circumstances, that contributed to the profound changes in the Romantic century. The course will be make up with:

  1. Lessons.
  2. Practice session for knowing technical facets: orchestration, performance and the way of romantic live.
  3. Personal study, with listening, study of treatise, commentaries and reading of literary sources. 
  4. We suggest literature books, with musical references. In this accademical year 2020/21 we propose Madame Bovary (1856), of Gustave Flaubert.

Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.


Title Hours ECTS Learning Outcomes
Type: Directed      
Lesson 25 1 2, 3, 1, 4, 22, 5, 6, 9, 12, 11, 21, 7, 8, 14, 16, 10, 15, 13, 17, 18, 19, 24, 25, 26, 20
Musical analysis 10 0.4 2, 3, 1, 4, 22, 5, 6, 9, 12, 11, 21, 7, 8, 14, 16, 10, 15, 13, 17, 18, 19, 24, 25, 26, 20
Text commentary and listening 10 0.4 2, 3, 1, 4, 22, 5, 6, 9, 12, 11, 21, 7, 8, 14, 16, 10, 15, 13, 17, 18, 19, 24, 25, 26, 20
Type: Supervised      
Commentaries, lectures, listening and orchestration 27 1.08 2, 3, 1, 4, 22, 5, 6, 9, 12, 11, 21, 7, 8, 14, 16, 10, 15, 13, 17, 18, 19, 24, 25, 26, 20
Type: Autonomous      
Information search 37 1.48 2, 3, 1, 4, 22, 5, 6, 9, 12, 11, 21, 7, 8, 14, 16, 10, 15, 13, 17, 18, 19, 24, 25, 26, 20
Study and articles reading 30 1.2 2, 3, 1, 4, 22, 5, 6, 9, 12, 11, 21, 7, 8, 14, 16, 10, 15, 13, 17, 18, 19, 24, 25, 26, 20


The assessment will combine four activities: two exams (60%) and four activities (two text's commentaries and two auditions commentaries) (40%) To pass the course is compulsory a mark 5 in, minimum, in each test. An absent without reason, will be considered "no valuable", and without make-up. The first exam and the two first activities will be referred to the specific academic contents treated until the first half of the 19th Century Music's History. The second exam and the two last activities will be referred to the specific academic contents treated from the second half of the 19th Century Music's History. These activities will revolve around musical listening lists and specific texts  that will be respectively fixed for the first and the second half of the course, and that will be published in Moodle.


  1. (Criteria )

P It's compulsary the attendance to the 75% of the lessons. The exams have to be done, the commentaries should be done in the fixed day.


-In the event that tests or exams cannot be taken onsite they will be adaptet to an online format made available through the UAB's virtual tools (original weigthing will be maintained). Homework, activities and class participation will be carried out through forums, wikis and/or discussion on Teams, etc. Lecturers will ensure that students are able to access thes virtual tolls or will offer them feasible alternatives.

Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Commentary of auditions 20 % 3 0.12 2, 3, 1, 4, 22, 5, 6, 9, 12, 11, 21, 7, 8, 14, 16, 10, 15, 13, 17, 18, 19, 24, 25, 26, 20
First exam 30 % 2 0.08 2, 3, 1, 4, 22, 5, 6, 9, 12, 11, 21, 7, 8, 14, 16, 10, 15, 13, 17, 18, 19, 24, 25, 26, 20
Second Examen 30 % 2 0.08 2, 3, 1, 4, 22, 5, 6, 9, 12, 11, 21, 7, 8, 14, 16, 10, 15, 13, 17, 18, 19, 24, 25, 26, 20
Text Commentaries 20 % 4 0.16 2, 3, 1, 4, 22, 5, 6, 9, 12, 11, 21, 7, 8, 14, 16, 10, 15, 13, 17, 18, 23, 19, 24, 25, 26, 20




AVIÑOA, X. (ed) Història de la Música Catalana, Valenciana i Balear, vol. III. Barcelona, ed 62, 2000.

 BONASTRE, Francesc; CORTÈS, FrancescHistòria Crítica de la Música Catalana. Bellaterra, servei de publicacions de la UAB, 2009.

CALMELL, Cèsar. La música europea en el context cultural de la primera meitat del segle XiX. Servei de Publicacions de la UAB. Barcelona, 2006.

CASARES, Emilio (ed); ALONSO, Celsa (ed). La música española en el siglo XIX. Oviedo, Servicio de Publicacions de la U. de Oviedo, 1995.

CASINI, ClaudioHistoria de la música. El siglo XIX, segunda parte. Madrid, Turner Música, 1987.

CORTÈS, FrancescHistòria de la Música a Catalunya. Barcelona, editorial Base, 2011.

CORTÈS, Francesc; ESTEVE, Josep-JoaquuimMúsicas en tiempos de guerra. Cancionero (1503-1939), col·lecció El espejo y la lámpara, 6. Bellaterra, 

Servei de Publicacions de la UAB, 2012. 

DAHLHAUS, Carl. La Musical dell’ottocento. Firenze, ed. Discanto, 1990.

DAHLHAUS, Carl. Between Romanticisme and modernism. Berkley, University of California Press, 1982.

DAHLHAUS, CarlLa idea de la música absoluta. Barcelona, Idea Books, 1999.

DAHLHAUS, CarlRealism in Nineteenth-Century Music. Cambridge, 1985.

DI BENEDETTO, Renato. Historia de la música, 8. El siglo XIX, primera parte. Madrid,Turner Música, 1987.

EINSTEIN, Alfred. La música en la época romántica. Madrid, AlianzaMúsica, 1986.

FUBINI, EnricoEl romanticismo: entre músicay filosofía. Valencia, U. de Valencia, 2002.

LONGYEAR, Rey MorganLa música del siglo XIX: el romanticismo. Buenos Aires, ed. Víctor Leru, 1983.

NATTIEZ, Jean-Jacques Musiques. Une encyclopédie pour le XXIe siècle. Vol IV. Paris, Actes Sud-Cité de la Musique, 2006 (també en edició en italià. Bologna, Einaudi, 2004)

PLANTINGA, LeonLa música romántica. Madrid, ed. Akal, 1992.

ROSEN, CharlesThe Romantic Generation. Harvard University press, Cambridge, 1995.

VV. AA. El segle romàntic. Actes del Col·loqui sobre el romanticisme a Catalunya. Vilanova i la Geltrú, 1998.



Lesson 2

Abrams, Meyer. El espejo y la lámpara. Teoría Romántica y Tradición Crítica. Barcelona, Barral, 1975.

Bartoli, Jean-Pierre. Dictionnaire de la musique en France aux XIXè siècle. Paris, Fayard, 2003.

Brown, CliveClassical and Romantic performing practice. 1750-1900- Oxford, Oxford university press, 1999.

Candoni, Jean-François. Penser la musique au siècle du romantisme. Discours esthétiques dans l’Allemagne et l’Autriche du XIXe siècle. Paris, PUPS, 2012.

Claudon, Francis. La Musique des romantiques. Paris, Presses Universitaires Françaises, 1992.

Dalmonte, Rossana. “La musica della Rivoluzionefrancese”. M/R, nº1, 1980.

Gérard Herzhaft, AmericanaHistoire des musiques de l'Amérique du Nord, de la préhistoire à l'industrie du disque. Paris, Fayard, 2005.

Hayes, Ellen MWomen’s musicGrove Music online, 2013.

Haynes, Bruce. The End of Early Music. Oxford, Oxford University Press, 2007.

Jones, Howard Mumford. Revolution and Romanticism. Cambridge, Harvard University Press, 1974.

Marcel, BrionLa Vida cotidiana en Viena en tiempos de Mozart y de Schubert. México, Fondo de Cultura Económica, 1990.


Lesson 3


Bartoli, Jean-Pierre. L’harmonie classique et romantique (1750-1900). Éléments et  évolution. Paris, éditions Minerve, 2001.

Bent, Ian. (ed.) Music Theory in the Age of Romanticism. Cambridge University Press, 1996.

Carse Adam. The orchestra from Beethoven toBerlioz. Cambridge, W. Heffer & Sons, 1948.

Garrat, James. Palestrina and the German Romantic Imagination: Interpreting Historicism in 19th-Century Music. Cambridge:Cambridge University Press, 2002.

Gonnard, H. La musique modale en France de Berlioz à Debussy. Paris, H. Champion, 2000.

Matassi, Elio. L'idea di musica assoluta. Nietzsche-Benjamin. Rapallo,Il Ramo editore, 2007.

Poirier, Alain. “Dimensions et voies spécifiques d'analyse du répertoire romantique”. Analyse Musicale, 21, 1990.

Rosen, CharlesThe Romantci generation. Cambridge, Harvard University Press, 1995.

Spitzer, John; Zaslaw, Neal. The birth of the orchestra: history of an institution, 1650-1815.  Oxford, Oxford University Press, 2004.

VV. AA. “Orchestres aux XVIIIe et xIxe siècles: composition, disposition,direction, représentation”, a « Musique/images/ instruments », Revue française d'organologie et d'iconographie, nº 12.  Paris, CNRS éditions, 2011.

Whitwell, D. The History and Literature of the Wind Band and Wind Ensemble, ol 5: The 19th Century wind band and wind ensemble in Western Europe. Adliswill, Ruh musik, 2000.


Lesson 4


Adkins Chiti, Patricia. Las Mujeres en la música. Madrid, Alianza Música, 1995. 

Bailbé, Joseph-Marc; Bernard, ElisabethLa Musique en France à l’époque romantique. Paris,Flammarion, 1991.

Bortolotto, Mario. Introduzione al Lied romantico. Milano, Adelphi, 1984.

Davy-Rigaux, Cécile. La musique d’église et ses cadres de création dans la France d’Ancien Régime. Biblioteca della Rivista di storia e letteratura religiosa. Studi, vol. 30. Firenze, Olschki, 2014.

Cortès, Francesc. “La música religiosa”, a Aviñoa, Xosé. Història de la Música Catalana, Valenciana i Balear vol III. Barcelona, ed 62, 2000.

Eigeldinger, Jean-Jacques (ed). Interpréter Chopin. Actes du Colloque. Paris, Cahiersdu Musée nº8, 2006.

Ellis, Katherine, "Palestrina et la musique dite "palestrinienne" en France au XIXe siècle: questions d'exécution et de réception", in Vendrix, Philippe (éd.), La Renaissance et sa musique au XIXe siècle. Paris, Klinclsieck, 2000, p. 155-190.

Ellis, Katherine. Interpreting the Past. Early Music in 19th-Century France. Oxford, Oxford University Press, 2005.

Kramer, LawrenceFranz Schubert: sexuality, subjectivity, song. Cambridge, Cambridge University Press, 1998.

Massin, BrigitteFranz Schubert. Madrid, Turner (ed en castellà), 1991.

Reibel, EmmanuelLes musiciens romantiques. Fascinations parisiennes. Paris, Fayard/Mirare, 2003.

Steen, MichaleSchubert. The Great Composers. The Independent, eBook, 2014.

Wollenberg, Susan; Kenry, Aisling. Women and the Nineteenth-century Lied. Burlington, Routledge, 2015, eBook.


Lesson 5


Altenburg, Detlef. “Franz Liszt and the Legacy of the Classical Era”, a19th Century Music, vol. XVIII, nº 1, 1994, pp. 46-63.

Alwes, Chester Lee A History of Western Coral Music. Oxford, Oxford University Press, 2015.

Artís i Benach, PereEl cant coral a Catalunya: 1891-1979. Barcelona, Barcino, 1980.

Barraud, Henry. Hector Berlioz (traducció al castellà). Madrid, Alianza editorial, 1994.

Baude, Michel. “Le vie musicale sous la Restauration et le Monarchie de Juillet”. Revue International de Musique Française, nº 10, febrero, 1983.

Biget, Michelle. “Le pianiste romantique face aux imposibles de l'écriture”. Analyse Musicale, nº 7, Abril, 1987.

Carbonell i guberna, JaumeJosep Anselm Clavé i el naixement del cant coral a Catalunya: 1850-1874. Barcelona, Galerada, 2000.

Dömling, Wolfgang. Franz Liszt y su tiempo. Madrid, Alianza Editorial, 1993.

Hardy, Lisa. The British piano sonata, 1870-1946. Suffolk, Boydell Press, 2012.

Lespinard, Bernadette. Les passions du choeur. La musique chorale et ses pratiques en France 1800-1950. Paris, Librairie Arthème Fayard, 2018.

Ochse, Orpha. Organists and Organ Playing in Nineteenth-Century France and Belgium. Bloomington, Indiana University Press, 2000.

Rosen, CharlesPiano Notes. Il pianista e il suo mondo. Torino, EDT, 2008.

Sharp, Avery T.; Floyd, James Michael. Choral Music. A Research and Information Guide (2ª ed). New York, Routledge, 2011.

Sugden, John. Paganini. Londres, Omnibus Press, 1986.

Szulc, Tad. Chopin in Paris: The life and times of the Romantic composeri. New York, Da Capo Press, 2000.

Thistlethwaite, Nicholas; Webber, Geoffrey. The Cambridge Companion to the Organ. Cambridge, Cambridge University Press, 1998.

VV. AA. La Virtuosité, Romantisme, nº 128, 2005.

Lesson 6


Duneton, Claude. Histoire de la chanson française. Paris, éditions du Seuil, 1998.

Floros, Constantin; Bernhardt-Kabisch, ErnestBrahms and Bruckner as artistic Antipodes: Studies in Musical Semantics, 2015.

Frisch, Walter. Brahms and the principle of developing variation. 1990.

Gasnault, François. “Les bals publics parisiens”. Revue Internationale de Musique Française, nº 3, novembre, 1980.

Hallmark, Rufus E. German Lieder in the Ninettenth Century. New York, Routledge, 2010.

Kant, Marion. The Cambridge companion to ballet. Cambridge, Cambridge University Press, 2007.

Rodmell, Paul (ed). Music and Institutions in the Nineteenth Century. Burlington, Ashgate, 2012.

Schönzeler, Hans Hubert. Bruckner. Marion Boyars Publishers, 2001

Storni, Eduardo. Johann Strauss y su dinastía. Madrid, Espasa Calpe, 1986.

Swafford, Jan. Johannes Brahms: a biography. New York, Random Housepublishers, 1999.

Tranchefort, François-René (dir)Guide de la musique de chambre. Paris, Fayard, 2010.


Lesson 7


Charles-Dominique, Luc; Defrance, Yces; Pistone, DanièleFascinantes Étrangetés. La découverte de l'altérité musicale en Europe au XIXe siècle. PAris, L'Harmattan, 2014.

Cortès, Francesc. Felip Pedrell a la Biblioteca de Catalunya. Baracelona, Biblioteca de Catalunya, 2017, free on-line.

Flintde Medicis, Catrina. "Nationalism and Early Music at the French fin de siècle : Three Case Studies", a Nineteenth-Century Music Review, I, 2004, p. 43-66.

Leerssen, Josep (ed). Encyclopedia of Romantic Nationalism in Europe (2 vols). Amsterdam, Amsterdam University Press, 2018. 

Hebert, David. Patriotism and Nationalism in Music Education. Oxon, Ashgate, 2012.

Schneider, Mathieu. L'utopie suisse dans la musique romantique. Paris, Hermann, 2016.

Charles-Dominique, Luc; Defrance, Yces; Pistone, DanièleFascinantes Étrangetés. LA découverte de l'altérité musicale en Europe au XIXe siècle. Paris, L'Harmattan, 2014.

White, Harry; Murphy, Michael (eds). Musical Constructions of Nationalism: Essays on teh History and Ideology. Cork, University of Cork Press, 2001


Lesson 8


Balardelle, Genevieve. “L'exotisme extrême-orientel en France au fin du siècle”. Revue Internationale de Musique Française, nº 6, noviembre, 1981.

Beauvois, J. L.  Prélude, aria et final avec César Franck. Cinquante ans de musique française (1830-1880). Paris, Presses Universitaires de Grenoble, 1990.

Fauser, AnnegretMusical encounters at the 1889 Paris World’s Fair. Rochester, University of Rochester Press, 2005.

Gordon, Tom (ed). Regarding Fauré. Amsterdam, Gordon and Breach, 1999.

Janik, Allan/Toulmin, Stephen. La Viena de Wittgestein. Madrid, Taurus, 1987.

Jann Pasler. “Political anxieties and musical reception: japonisme and the problem of assimilation”. 2008.(http://musicweb.ucsd.edu/~jpasler/wp/wp-content/uploads/2012/06/Pasler-Japonisme2008.pdf)

Langham Smith, Richard; Potter, CarolineFrench Music since Berlioz. Oxon, Routledge, 2006.



Berlioz, Hector. Berlioz on Music: Selected Criticism (1824-1837). Kolb, Katherin; Rosenberg , Samuel N. 2015.

Berlioz, Hector. Grand traité d'instrumentation et d'orchestration modernes. Paris, Schonenberger,1844.

Berlioz, Hector.  Les soirées de l'orchestre. 1852. (consultables on-line: http://www.hberlioz.com/Writings/SOindex.htm)

Fétis, François- Joseph. La musique mise à la portée de tout le monde. París, Brandus et cie., 1847.

Heine, HenriMais qu’est-ce que la musique? París, Actes Sud, 1997 (reed).

Hoffmann, Edward T. A. Ecrits sur la musique. Laussane, L'Age d'Homme, 1985.

Mazzini, Giuseppe. Filosofia della musica. París, 1867.

Pedrell, Felip. Por Nuestra Música. Barcelona, Henrich ed, 1891 (ed facsímil, UAB, 1991).

Riemann, Hugo. Die Elemente der musikalischen Ästhetik. Stuttgart, 1900.

Schumann, Robert. Escfritos sobre la música y losmúsicos (ed de Eduard López Chávarri).

Schumann, Robert. Schumannon music: a selection from the writings (ed. Henry Pleasants. New York, Dover, 1988.

Spohr, LouisAutobiography. Nueva York, Da Capo, 1969. 



No necessary