1 / 14

Chapter 15 Prelude : Music after Beethoven: Romanticism

Chapter 15 Prelude : Music after Beethoven: Romanticism. Romanticism Cult of individual feeling Revolt The supernatural The macabre Artistic barriers. Key Terms. Early Romantic Timeline. Romanticism (1). Romantic literature & literary theory flourished particularly 1800-1820

gaura
Télécharger la présentation

Chapter 15 Prelude : Music after Beethoven: Romanticism

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Chapter 15Prelude: Music after Beethoven: Romanticism

  2. Romanticism Cult of individual feeling Revolt The supernatural The macabre Artistic barriers Key Terms

  3. Early Romantic Timeline

  4. Romanticism (1) • Romantic literature & literary theory flourished particularly 1800-1820 • A great age of poetry in England • Wordsworth, Coleridge, Shelley, Keats, Byron • Outpouring of German Romantic literature • Tieck, Novalis, Kleist, Hölderlin, Hoffmann • As it applies to music, the term Romantic was adopted from literature

  5. Romanticism (2) • Literary figures were talking excitedly about “Romantic” music by the 1820s • Music was now regarded as a major art • Treated with a new respect & seriousness • Largely thanks to Beethoven • Many parallels were drawn between music & literature • Literature’s prestige & power were now extended freely to music

  6. Romanticism (3) • To us, the word romantic refers to love • But glorification of love was just one of many Romantic themes • Individual feeling • Revolt • The supernatural • Freedom from artistic barriers • Music’s boundlessness, blending with other arts

  7. The Cult of Individual Feeling • Everyday life harsh, dull, & meaningless • It could be transcended through free exercise of individual will & passion • Highest good was feeling, unconstrained by convention, religion, or society • Emotional expression the highest artistic goal • Artistic “Bohemians” appeared • Proclaimed romantic love, led irregular lives, wore odd clothes

  8. Romanticism and Revolt • American & French Revolutions • 1848 revolutions & upheavals • In France, Germany, Austria, & Italy • Romantics viewed as rebels against the established order • Many composers took up cause of liberty • Beethoven, Liszt, Verdi, Wagner • Social barriers also broken down • Greater social mobility • Liszt’s affairs with noblewomen

  9. Music and the Supernatural • Many supernatural, even macabre subjects • Dreams, nightmares, & demons • Faust selling his soul to the Devil • A demon who claims a terrified child’s life • Titles included Frankenstein, Robert the Devil, The Vampire, The Magic Bullet • Composers created spooky music with strange harmonies & sinister sounds

  10. Artistic Barriers (1) • A constant search for higher experience & more intense expression • Inspiration & spontaneity could no longer be hemmed in by traditional forms and genres • “Rules” were not to be trusted • Shakespeare taken as a model, with his loose yet rich mix of tragedy & farce, rich poetry & bawdy prose, noble characters & clowns • Shakespeare inspired composed such as Mendelssohn, Berlioz, Chaikovsky, & Verdi

  11. Artistic Barriers (2) • Composers broke down barriers of harmony & form • Intense experimentation with chords & chord progressions previously forbidden • Many imaginative new harmonies • Sonata form, if used, was treated freely • Many new genres emphasized freedom – fantasy, symphonic poem, character piece, etc.

  12. Music and the Other Arts (1) • Efforts were made to blend the arts • Poetry became more “musical” • Paintings & musical works were given “poetic” titles • Wagner attempted to merge poetry, drama, music, & stagecraft in his “total artwork” • Blurred effects cultivated in many arts • Half-obscure verbal meanings • Ambiguous shapes & color blends • Imprecise yet rich & evocative sounds

  13. Music and the Other Arts (2) • Artists tried to express higher experience • Works that evoke the sublime or the infinite • A quality of boundlessness gave music its special prestige & status • Music more “abstract” than other arts • Not tied down to word meanings (as in poetry) or physical representation (as in painting) • Thus, music could express inner experience more deeply

  14. Music and the Other Arts (3) • Music’s special place in Romanticism was expounded by many philosophers • Schopenhauer, most notably • “All art aspires to the condition of music” • Victorian critic Walter Pater • Other arts tried to capture what they admired most in music • Music’s depth, freedom of emotional expression, and continuous, “infinite” quality

More Related