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Wagner's main philosophical contribution to opera was the idea of the ''Gesamtkunstwerk'', or "total work of art." In articles he wrote while in exile, he explained that in opera, the orchestra, singers, text, and scenery were all crucial elements of the total artistic impression and should therefore be given equal weight. What this meant in practice was that the orchestra took on an even greater role than before, and the musical flow became completely uninterrupted from the beginning to the end of an act. This also meant that the [[aria]], traditionally a showpiece for the singer, practically disappeared to be replaced by a more constant stream of musical ideas.

Wagner's main philosophical contribution to opera was the idea of the ''Gesamtkunstwerk'', or "total work of art." In articles he wrote while in exile, he explained that in opera, the orchestra, singers, text, and scenery were all crucial elements of the total artistic impression and should therefore be given equal weight. What this meant in practice was that the orchestra took on an even greater role than before, and the musical flow became completely uninterrupted from the beginning to the end of an act. This also meant that the [[aria]], traditionally a showpiece for the singer, practically disappeared to be replaced by a more constant stream of musical ideas.

To give order to this new concept of opera, Wagner invented the ''leitmotiv'', which is a relatively short melodic idea that represents a certain character, thing, or idea. A ''leitmotiv'' associated with a particular character often appears in the orchestra while being mentioned by another character, effectively acting as a stand-in. More complex ''leitmotivs'' include the "Tristan chord," a particularly memorable harmonic progression in ''Tristan und Isolde'' first heard in the prelude which comes to symbolize the love and death of the two title characters. While Wagner never used the word ''leitmotiv'' to describe his own operas, it is a clearly discernible technique in his music which has influenced many other composers. It has been recognizably used since then in film scores.

To give order to this new concept of opera, Wagner built on the ''leitmotiv'', which is a relatively short melodic idea that represents a certain character, thing, or idea. A ''leitmotiv'' associated with a particular character often appears in the orchestra while being mentioned by another character, effectively acting as a stand-in. More complex ''leitmotivs'' include the "Tristan chord," a particularly memorable unresolved harmonic progression in ''Tristan und Isolde'' first heard in the prelude which comes to symbolize the love and death of the two title characters. While Wagner never used the word ''leitmotiv'' to describe his own operas, it is a clearly discernible technique in his music which has influenced many other composers. It has been recognizably used since then in film scores.

==Wagner and Anti-Semitism==

==Wagner and Anti-Semitism==