Post-romanticismorPostromanticism refers to a range of cultural endeavors and attitudes emerging in the late nineteenth and early twentieth centuries, after the period of Romanticism.
The period of post-romanticism in poetry is defined as the mid-to-late nineteenth century,[1] but includes the much earlier poetry of Letitia Elizabeth Landon[2] and Tennyson.[3]
Post-romanticism in music refers to composers who wrote classical symphonies, operas, and songs in transitional style that constituted a blend of late romantic and early modernist musical languages. Arthur Berger described the mysticism of La Jeune France as post-Romanticism rather than neo-Romanticism.[6]
Post-romantic composers created music that used traditional forms combined with advanced harmony. Kaikhosru Shapurji Sorabji created post-romantic nocturnes that used unconventional harmonic language and Béla Bartók, for example, "in such Strauss-influenced works as Duke Bluebeard's Castle", may be described as having still used "dissonance ['such intervals as fourths and sevenths'] in traditional forms of music for purposes of post-romantic expression, not simply always as an appeal to the primal art of sound".[7]