As we have seen, nineteenth-century music was diverse and pervasive. Music was a part of everyday life, as middle class children received music education and as concerts became important social events across social strata. Aesthetic move- ments of Romanticism, Realism, Exoticism, and cultural nationalism shaped mu- sical styles. Composers such as Franz Schubert, Felix and Fanny Mendelssohn, Robert and Clara Schumann, Fryderyk Chopin, Franz Liszt, Hector Berlioz, Jo- hannes Brahms, Bedřich Smetana, Antonín Dvořák, John Philip Sousa, Pyotr Tchaikovsky, Giuseppe Verdi, and Richard Wagner wrote eclectic music across German, French, Italian, Czech, Polish, American, and Russian lands. Many of them continued with genres developed in the Baroque and classical periods, such as the concerto, symphony, opera, and oratorio, while others forged new paths, especially as music and poetry, drama, and visual art interacted in such new genres as the art song, piano character piece, program symphony, symphonic poem, and music drama, or opera. Despite the larger performing forces that were available, composers continued to privilege singable melodies, even if they were much more chromatic than before. These transformations of musical form and harmony con- tinued into the early twentieth century as musicians sought to be more modern than ever before and, in so doing, questioned the very foundations basic to music of the previous two centuries.