The emergence of musical romanticism

Chapin, Keith ORCID: https://orcid.org/0000-0001-8220-7344 2021. The emergence of musical romanticism. Taylor, Benedict, ed. The Cambridge Companion to Music and Romanticism, Cambridge Companions to Music, Cambridge University Press, pp. 17-34. (10.1017/9781108647342.004)

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Abstract

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.

Item Type:	Book Section
Date Type:	Publication
Status:	Published
Schools:	Music
Publisher:	Cambridge University Press
ISBN:	9781108647342
Last Modified:	10 Nov 2022 09:55
URI:	https://orca.cardiff.ac.uk/id/eprint/145001

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