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2 - The Emergence of Musical Romanticism

from Part I - Horizons

Published online by Cambridge University Press:  06 August 2021

By
Keith Chapin
Edited by
Benedict Taylor
Benedict Taylor
Affiliation:
University of Edinburgh
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Summary

Classicism and Romanticism are frequently used as a shorthand to designate the stylistic and aesthetic shifts that occurred as the eighteenth gave way to the nineteenth century. However, this neat picture blurs as one delves into the subject. Not only did Romantic musicians learn the foundations of harmony, phrasing, and texture from their predecessors, but many of the styles of innocent naïveté or exuberant striving beloved by Romantics emerged from specific eighteenth-century genre contexts, including opera, the fantasy, folk song, and church music. Change did happen, of course. Not only did the ethical concerns of the eighteenth century turn towards metaphysical ones in the nineteenth, but the social and institutional divides that had long separated musicians and writers began to lessen. As a result, musicians and writers learned to admire and emulate what each believed the other excelled at.

Keywords

RomanticismclassicismsensibilitySturm und Drangaesthetic shiftgenresalon cultureliteraturemusicians
Type
Chapter
Information
The Cambridge Companion to Music and Romanticism , pp. 17 - 34
Publisher: Cambridge University Press
Print publication year: 2021

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References

Further Reading

Chapin, Keith. ‘Classicism/Neoclassicism’, in Downes, Stephen (ed.), Aesthetics of Music: Musicological Perspectives (Abingdon: Routledge, 2014), 144–69.Google Scholar
Dirst, Matthew. Engaging Bach: The Keyboard Legacy from Marpurg to Mendelssohn (Cambridge: Cambridge University Press, 2012).CrossRefGoogle Scholar
Eigeldinger, Jean-Jacques. Chopin: Âme des salons parisiens (1830–1848) (Paris: Fayard, 2013).Google Scholar
Gelbart, Matthew. The Invention of ‘Folk Music’ and ‘Art Music’: Emerging Categories from Ossian to Wagner (Cambridge: Cambridge University Press, 2007).Google Scholar
Head, Matthew. ‘Fantasia and Sensibility’, in Mirka, Danuta (ed.), The Oxford Handbook of Topic Theory (Oxford: Oxford University Press, 2014), 259–78.Google Scholar
Kramer, Lawrence. ‘The Schubert Lied: Romantic Form and Romantic Consciousness’, in Frisch, Walter (ed.), Schubert: Critical and Analytical Studies (Lincoln, NE: University of Nebraska Press, 1988), 200–37.Google Scholar
McClelland, Clive. ‘Ombra and Tempesta’, in Mirka, Danuta (ed.), The Oxford Handbook of Topic Theory (New York: Oxford University Press, 2014), 279–300.Google Scholar
Richards, Annette. The Free Fantasia and the Musical Picturesque (Cambridge: Cambridge University Press, 2001).Google Scholar
Ronyak, Jennifer. Intimacy, Performance and the Lied in the Early Nineteenth Century (Bloomington: Indiana University Press, 2018).Google Scholar
Rosen, Charles. The Romantic Generation (Cambridge, MA: Harvard University Press, 1995).Google Scholar
Safranski, Rüdiger. Romanticism: A German Affair, trans. Goodwin, Robert E. (Evanston: Northwestern University Press, 2014).Google Scholar
Spitzer, Michael. Metaphor and Musical Thought (Chicago: Chicago University Press, 2004).Google Scholar

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