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The Emergence of Romanticism

The Emergence of Romanticism. Romanticism. Seeking one’s uniqueness “Aesthetic ” experience as distinct from intellectual, ethical, or practical experiences E. T. A. Hoffman ( 1776–1822 ) music’s “sole subject is the infinite” Haydn and Mozart as Romantic. The Beautiful and the Sublime.

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The Emergence of Romanticism

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  1. The Emergence of Romanticism

  2. Romanticism • Seeking one’s uniqueness • “Aesthetic” experience as distinct from intellectual, ethical, or practical experiences • E. T. A. Hoffman (1776–1822) • music’s “sole subject is the infinite” • Haydn and Mozart as Romantic

  3. The Beautiful and the Sublime • Sublime touched on realms of the great and incomprehensible, even the painful and the terrifying • Edmund Burke (1729–1797) • “Sublime objects are vast in their dimensions, beautiful ones comparatively small”

  4. The Coming of Museum Culture • Canon • an accumulating body of permanent masterworks that never go out of style and form the bedrock of an everlasting repertory • Museum culture • “Classic”

  5. Beethoven versus “Beethoven” • E. T. A. Hoffman’s essay, “Beethoven’s Instrumental Music” (1813) • “Beethoven’s music sets in motion the lever of fear, of awe, of horror, or suffering, and wakens just that ‘infinite longing’ that is the essence of Romanticism” • The cult of the creative genius

  6. The Sacralization of Music • Hoffmann: “[Beethoven’s] kingdom is not of this world” • Religious idea of art • The score as an inviolable authority object

  7. The Music Century • Nineteenth century • New audiences for classical music • Growth of publishing • Music education and conservatories

  8. The Music Century • Music criticism • AllgemeinemusikalischeZeitung:“musical newspaper for the general public” (1798–1848) • Friedrich Rochlitz (1769–1842)

  9. Nationalism:I, We, and They • Truth is found in individual consciousness • Nation defined by a collective culture

  10. German Musical Values as Universal Values • Beethoven as authoritative symbol of the age • German style as “universal” and therefore timeless • Ethnocentrism

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