early 20th century Romantic style

At the end of the 19th century the Romantic style was starting to break apart, moving in various directions, such as Impressionism and Post-romanticism. In the 20th century, the different styles that emerged from the music of the previous century influenced composers to follow new trends, sometimes as a reaction to that music, sometimes as an extension of it, and both trends co-existed well into the 20th century. The former trends, such as Expressionism are discussed later. In the early part of the 20th century, many composers wrote music which was an extension of 19th-century Romantic music, and traditional instrumental groupings such as the orchestra and string quartet remained the most common. Traditional forms such as the symphony and concerto remained in use. Guatav Mahler and Jean Sibelius are examples of composers who took the traditional symphonic forms and reworked them. More generally, that "the composer who most directly and completely connects late Wagner and the 20th century is Arnold Schoenberg. The still present style of Romantic style music lasted in to the early 20th century had lasting influences in to the mid 20th century. The pattern of expressing emotion in feeling through music is still applied to diffrent genres of music today. The lasting effects of late romantic music is still follwing on in to the 21st century, but has transitioned in to a completely diffrent style and form of music

Nationalism in music

Nationalism in music, something that prospered in the late 1800's. Musical nationalism refers to the use of musical ideas that are identified with a specific countries, regions, or ethnicities, and such. Most nationalist music stems from folk tunes and melodies, rhythms, and harmonies inspired by their country or region. Musical nationalism can also include the use of folklore as a basis for works including opera.

            Although some evidence of the nationalist styles can be seen as early as the late 18th century, nationalism as music is generally understood to have emerged part way into the romantic period, beginning around the mid-19th century and continuing well into the twentieth. It initially began as a reaction against the dominance of "German" music. That and later developed alongside the growing movements for national liberation and self-determination that characterized much of the 19th century. Countries or regions most commonly linked to musical nationalism include Russia, Czechoslovakia, Poland, Romania, Scandinavia, Spain, UK, Latin America and the United States.
            Until the 19th century, Russian music had been dominated by foreign musicians. Peter the Great had begun this trend by bringing foreign musicians to his kingdom. As a result, very few Russian compositions in the western European art music tradition exist before Glinka. In Great Britain, nationalist music was more prominent in Scotland, Ireland and Wales than in England. These countries have always had a strong connection to their heritage, and Romantic composers incorporated elements of British folk music into their works.
            Nationalist music was also present Norway, Finland, Sweden, Spain, Mexico, People’s Republic of China, Italy, and Czechoslovakia. Czechoslovakia was a country formed in 1918 by the combination of the Bohemian, Moravian, and Slovakian territories. These territories had been under the control of the Habsburg Empire. As a result, the imperial language, German, and the imperial religion, Catholicism, had become a way of life for the Czech people. These factors all contributed to the Czech nationalist style of music.
            Nationalism was a movement that effected government and music from the late 1800;s to the early 1900’s, and its effects are still apparent in today’s world.