Music Aesthetics and Philosophy June The “War of the Romantics”: An Aesthetical Overview of Early and Late Romantic Music Alberto Ferro The task to . Romantics believed in the natural goodness of humans which is hindered by the urban life of civilization. They believed that the savage is noble, childhood is. Classicism = reason (order / balance) and social concerns over personal focus: ▫ the Romantics stressed the individual, imagination, and emotions.
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Introduction to Romanticism. Romanticism has very little to do with things popularly thought of as. "romantic," although love may occasionally be the subject of. Pre-Romanticism in English Literature. Graveyard School of Poetry. Robert Burns . Gothic Novels. English Romanticism. Historical Context. Cultural Context. CHAPTER THE CONCEPT OF ROMANTICISM: INTRODUCTION AND BACKGROUND: “He who seeks to define Romanticism is.
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FAQ Policy. About this book The British Romantic poets were among the first to realise the centrality of the Divine Comedy for the evolution of the European epic. Show all. The Eighteenth-Century Reception: If it does not, does it still have a meaning? Edward Hanslick replies to these questions by establishing the principles of modern musical aesthetics.
His view is radical and extremely accurate, even though many of his statements could hardly refer to composers or compositions of the twentieth century. Therefore all the music that he refers to could be put on a line where at the two extremes we find 1 In particular his definition of beauty.
Of course, between these two extremes there are all those compositions that are partially in both categories. He points the attention to those themes and images that romantic music uses as a source of inspiration as well as interpretative key: By considering music as a language comparable in its structure to other languages the spoken language at first we will miss to acknowledge the musical event for what it is: The former grows only on musical elements; any reference to visual art or literature, as much appropriate as they can be, will not add or detract neither value or meaning to the composition itself, since Beethoven wrote it to be independent.
Even the extramusical material that may have provided inspiration to the composer, however similar, pertinent or evidently represented in the actual music could not give any more explanation than the music itself.
The last example will be the piano Preludes by Debussy, which however inspired by a specific image, place, event or extramusical source, they offer a title only at the end of the score, suggesting that any interpretation of the piece would be correct. Each of these work is with no doubt an example of absolute music, but the composer wanted to provide a very precise image for each one: In the comparison between Absolute and Programmatic music Wagner stands in a particular position.
While through his aesthetic he draws an ideal work of art that connect music, poetry and drama in a single event whose purpose is to guide humanity to its redemption , the musical material is strongly dependent on extramusical sources: Even if Programmatic, it seems that for Wagner music does not have any role of lower importance than the poetry or the drama, but a role of cooperation for a common purpose. Related Papers.
With reference to the Sonata in B minor by Franz Liszt, to what extent did the Romantic sensibility encourage composers to conceive their music as a form of literary prose? By Chrisni Mendis.
Music of the Romantic Era. By Luminita Florea. If you do not receive an email within 10 minutes, your email address may not be registered, and you may need to create a new Wiley Online Library account. If the address matches an existing account you will receive an email with instructions to retrieve your username.
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