| The progressive composers working in Germany in the period after 1850 became known as the _________________________. |
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| In his symphonic poems, Liszt employed _________________________ to develop structural coherence in unconventional forms. |
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| Wagner’s Tristan und Isolde is an example of the genre he called _________________________. |
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| A musical idea in Wagner’s mature works, often associated with an idea or character in the plot and developed in symphonic style in the orchestra, is usually called a _________________________, a term the composer himself did not use. |
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| The composer _________________________ took up the tradition of Mendelssohn and Schumann and later provided important support to the career of Dvorak. |
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| Verdi’s last two operas were both adapted from works of _________________________, who was an important figure in nineteenth-century literary thought. |
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| The post-Romantic composer Gustav Mahler based several of his symphonies on material taken from _________________________. |
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| The _________________________ employed plots that featured violent emotional outbreaks in characters from the lower classes and a musical style based on declamatory singing and powerful orchestration. |
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| Composers seeking to revitalize the European musical tradition in the late nineteenth century turned to _________________________, the use of materials derived from musical styles from outside the leading nations of Europe. |
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| The _________________________ was an important group of nationalist composers in the late nineteenth century. |
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