In the nineteenth century, music focused on more emotions and freedom in classical form and was composed along with the growth of Romanticism. With expanding exchanges with other continents after the Industrial Revolution, people started to pay more attention to exotic sounds and rhythms. Weak count...
In the nineteenth century, music focused on more emotions and freedom in classical form and was composed along with the growth of Romanticism. With expanding exchanges with other continents after the Industrial Revolution, people started to pay more attention to exotic sounds and rhythms. Weak countries have also exerted efforts to conserve their cultures against their strong counterparts that expended new territories. Originating from India in the ninth century, Gypsies spread out across Western and Eastern Europe, the Iberian Peninsula, and Russia, disseminating their culture. They embraced the folk music of the settlements and transformed their own unique music to create a new genre. In Spain, Gypsy music spread through the guitar, and a combination of Spanish folk dance and Gypsy instruments came up with the dance and music called “flamenco.” In Hungary, “verbunkos” music for military recruitment was developed. The Gypsies played the music and transformed and developed it into their own style. They mainly played the violin vividly and organized musical bands, achieving popularity from not only aristocrats but also the public. Gypsies in Russia formed choirs for their musical activity. Russian aristocrats developed their own unique choirs, and various types of folk music and Gypsy music were developed through Russian romance. In this dissertation, a comparative study of Gypsy music is made, which involves stylistic analyses of the three selected opera: Carmen by Georges Bizet, The Gypsy Baron by Johann Strauss II, and Aleko by Sergei Rachmaninoff. The characteristics of the Gypsy music that appears in these three works will be analyzed based on the musical examples. The opera Carmen was composed by Georges Bizet (1838–1875) using Spanish Gypsy music. The protagonist is a Gypsy woman, Carmen, who is described with Gypsies’ musical instruments, scales, and rhythms. Johann Strauss II (1825–1899) used one of his favorite musical forms, waltz, in the operetta The Gypsy Baron and described Gypsy music using csárdás and Gypsy scales and rhythms. Sergei Rachmaninoff (1873–1943) described Gypsy music by mostly focusing on the chorus in the opera Aleko. He created his style of music based on his own musical characteristics using chorus in the lyrics to tell Gypsies’ life and free view of love. Eventually, the music of Gypsies who had been treated contemptuously became mainstream in the nineteenth century by composers who pursued exotic music based on romanticism.
In the nineteenth century, music focused on more emotions and freedom in classical form and was composed along with the growth of Romanticism. With expanding exchanges with other continents after the Industrial Revolution, people started to pay more attention to exotic sounds and rhythms. Weak countries have also exerted efforts to conserve their cultures against their strong counterparts that expended new territories. Originating from India in the ninth century, Gypsies spread out across Western and Eastern Europe, the Iberian Peninsula, and Russia, disseminating their culture. They embraced the folk music of the settlements and transformed their own unique music to create a new genre. In Spain, Gypsy music spread through the guitar, and a combination of Spanish folk dance and Gypsy instruments came up with the dance and music called “flamenco.” In Hungary, “verbunkos” music for military recruitment was developed. The Gypsies played the music and transformed and developed it into their own style. They mainly played the violin vividly and organized musical bands, achieving popularity from not only aristocrats but also the public. Gypsies in Russia formed choirs for their musical activity. Russian aristocrats developed their own unique choirs, and various types of folk music and Gypsy music were developed through Russian romance. In this dissertation, a comparative study of Gypsy music is made, which involves stylistic analyses of the three selected opera: Carmen by Georges Bizet, The Gypsy Baron by Johann Strauss II, and Aleko by Sergei Rachmaninoff. The characteristics of the Gypsy music that appears in these three works will be analyzed based on the musical examples. The opera Carmen was composed by Georges Bizet (1838–1875) using Spanish Gypsy music. The protagonist is a Gypsy woman, Carmen, who is described with Gypsies’ musical instruments, scales, and rhythms. Johann Strauss II (1825–1899) used one of his favorite musical forms, waltz, in the operetta The Gypsy Baron and described Gypsy music using csárdás and Gypsy scales and rhythms. Sergei Rachmaninoff (1873–1943) described Gypsy music by mostly focusing on the chorus in the opera Aleko. He created his style of music based on his own musical characteristics using chorus in the lyrics to tell Gypsies’ life and free view of love. Eventually, the music of Gypsies who had been treated contemptuously became mainstream in the nineteenth century by composers who pursued exotic music based on romanticism.
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