The question of how to “chunk” music history into periods is one that I raise with my undergrads (music majors) when we move from late Beethoven to Schubert, Berlioz, and other composers born a good generation later than Beethoven. I warn them, among other things, that there is no coherent system of “Romantic harmony” (for example)–intensely chromatic, third relations, enharmonic modulations, etc.–that will be found in all or even most music of the early/mid nineteenth century: there were many different streams of musical style existing simultaneously, and parlor songs or four-hand piano quadrilles (for example) might be as plain-vanilla in harmonic language as something from the ”early Classic” era (e.g., the Stamitz and Sammartini in their anthology–pieces I quite like despite or maybe because of their relatively limited harmonic vocabulary, harmonic progressions, etc.). I also have them sing a French political song with me from the 1820s (unaccompanied, based on a folk tune, and protesting censorship of political songs at the time!). The more we consider non-masterpiece music (including “functional music,” as Dahlhaus conveniently labeled it), I suspect, the less meaningful these simple “period” labels become.
Published by Zachary Wallmark
During the Challenge I was graduate student in musicology at UCLA (completed 2014). I am currently Assistant Professor of Music History at SMU in Dallas, TX, where I teach courses on cultural musicology, opera history, music perception and cognition, popular music, and research methods. My monograph project, "Nothing but Noise: Timbre and Musical Meaning at the Edge," is under contract with Oxford University Press. View all posts by Zachary Wallmark