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The Romantic Generation Free FREE THE ROMANTIC GENERATION PDF Charles Rosen | 744 pages | 02 May 2011 | HARVARD UNIVERSITY PRESS | 9780674779341 | English | Cambridge, Mass, United States Romanticism - Wikipedia Rosen explains and Charles Rosen is an internationally respected pianist. A pupil of Moriz Rosenthal, he has performed and recorded a wide repertoire from Bach to Pierre Boulez. The Romantic Generation. Charles Rosen. An exhilarating exploration of the musical language, forms, and styles of the Romantic period, it captures the spirit that enlivened a generation of composers and musicians, and The Romantic Generation doing so it conveys the very sense of Romantic music. In readings uniquely informed by his performing experience, Rosen offers consistently acute and thoroughly engaging analyses of works by Schubert, Schumann, Mendelssohn, Bellini, Liszt, and Berlioz, and he presents a new view of Chopin as a master of polyphony and large-scale form. He adeptly integrates The Romantic Generation observations on the music with reflections on the art, literature, drama, and philosophy of the time, and thus shows us the major figures of Romantic music within their intellectual and cultural context. Rosen covers a remarkably broad range of music history and considers the importance to nineteenth-century music The Romantic Generation other cultural developments: the art of landscape, a changed approach to the sacred, the literary fragment as a Romantic art form. He sheds new light on the musical sensibilities of each composer, studies the important genres from nocturnes and songs to symphonies and operas, explains musical principles such as the relation between a musical idea and its realization in sound and the interplay between music and text, and The Romantic Generation the origins of musical ideas prevalent in the Romantic period. The Fragment as The Romantic Generation form 48 Open and closed 51 Words. Horn calls Landscape and music Landscape and the double time. Fourbar phrases. Counterpoint The Romantic Generation the Narrative Forms. Sonnet no SelfPortrait as Don Juan. Liberation from the Central European Tradition. Mastering Beethoven Transforming Classicism Classical form and mod. Politics Trash and High. Politics The Romantic Generation melodrama Popular art Bellini Meyerbeer. Poetic inspiration and craft Counterpoint and the single line Narrative. Keyboard exercises Virtuosity and decoration salon music? From the Miniature Genre to the Sublime Style. Folk music? On Creation as Performance. Triumph and Failure of the Romantic Ideal. Index of Names and Works. ONE Music and Sound. About the Romantic Period The romantic period is a term applied to the literature of approximately the first third of the nineteenth century. During this time, literature began to move in channels that were not entirely new but were in strong contrast to the standard literary The Romantic Generation of the eighteenth century. How the word romantic came to be applied to this period is something of a puzzle. Originally the word was applied to the Latin or The Romantic Generation dialects used in the Roman provinces, especially France, and to the stories written in these dialects. Romantic is a derivative of romant, which was borrowed from the French romaunt in the sixteenth century. At first it meant only "like the old romances" but gradually it began to carry a certain taint. Romantic, according to L. Smith in his Words and Idiomsconnoted "false and fictitious beings and feelings, without real existence in fact or in human nature"; it also suggested "old castles, mountains and forests, pastoral plains, waste and solitary places" and a "love for wild nature, for mountains and moors. The word passed from England to France and Germany late in the seventeenth century and became a critical term for certain poets who scorned and rejected the models of the past; they The Romantic Generation themselves The Romantic Generation their freedom from eighteenth-century poetic codes. In Germany, The Romantic Generation, the word was used in strong opposition to the term classical. The grouping together of the so-called Lake poets Wordsworth, Coleridge, and Southey with Scott, Byron, Keats, and Shelley as the romantic The Romantic Generation is late Victorian, apparently as late as the middle s. And it should be noted that these poets did not recognize themselves as "romantic," although they were familiar with the word and recognized that their practice differed from that of the eighteenth century. The reaction to the standard literary practice and critical norms of the eighteenth century occurred in many areas and in varying degrees. Reason no longer held the high place it had held in the eighteenth century; its place was taken by imagination, emotion, and individual sensibility. The eccentric and the singular took the place of the accepted conventions of the age. A concentration on the individual and the minute replaced the eighteenth-century insistence on the universal and the general. Individualism replaced objective subject matter; probably at no other time has the The Romantic Generation used himself as the subject of his literary works to such an extent as during the romantic period. Writers tended to regard themselves as the most interesting subject for literary creation; interest in urban life was replaced by an interest in nature, particularly in untamed nature and in solitude. Classical literature quickly lost the esteem which poets like Pope had given it. The romantic writers turned back to their own native traditions. The Medieval and Renaissance periods were ransacked for new subject matter and for literary genres that had fallen into disuse. The standard eighteenth-century heroic couplet was replaced by a variety of forms such as the ballad, the metrical romance, the sonnet, ottava nina, blank verse, and the Spenserian stanza, all of which were forms that had been neglected since Renaissance times. The romantic writers responded The Romantic Generation to the impact of new forces, particularly the French Revolution and its promise of liberty, equality, and fraternity. The humanitarianism that had been developing during the eighteenth century was The Romantic Generation up enthusiastically by the romantic writers. Wordsworth, the great champion of the spiritual and The Romantic Generation values of physical nature, tried to show the natural dignity, goodness, and the worth of the common man. The combination of new interests, new attitudes, and fresh forms produced a body of literature that was strikingly different The Romantic Generation the literature of the eighteenth century, but that is not to say that the eighteenth century had no influence on the romantic movement. Practically The Romantic Generation of the seeds of the new literary crop had been sown in the preceding century. The romantic period The Romantic Generation the work of two generations of writers. The first generation was born during the thirty and twenty years preceding ; the second generation was born in the last decade of the s. The essayist Thomas De Quincey, born infalls between the two generations. Keats and Shelley belong to the second generation, along with Byron, who was older than they were by a few The Romantic Generation. All three were influenced by the work of the writers of the first generation and, ironically, the careers of all three were cut short by death so that the writers of the first generation were still on the literary scene after the writers of the second generation had disappeared. The major writers of the second romantic generation were primarily poets; they produced little prose, outside of their letters. Another striking difference between the two generations is that the writers of the first generation, with the exception of Blake, The Romantic Generation gained literary reputations during their lifetime. Of the writers of the second generation, only Byron enjoyed fame while he was alive, more fame than any of the other romantic writers, with perhaps the The Romantic Generation of Scott, but Keats and Shelley had relatively few readers while they were alive. It was not until the Victorian era that Keats and Shelley became recognized as major romantic poets. Previous "To Autumn". Next Quiz. Removing book from your Reading List will also remove any bookmarked pages associated with this title. Are you sure you want to remove bookConfirmation and any corresponding bookmarks? My Preferences My Reading List. Keats' Poems John Keats. About the Romantic Period. Adam Bede has been added to your Reading List! The Romantic Generation — Charles Rosen | Harvard University Press Romanticism also known as the Romantic era was an artistic, literary, musical and intellectual movement that originated in Europe towards the The Romantic Generation of the 18th century, and in most areas was at its peak in the approximate period from to Romanticism was characterized by its emphasis on The Romantic Generation and individualism as well The Romantic Generation glorification of all the past and nature, preferring the medieval rather than the classical. It was partly a reaction to the Industrial Revolution[1] the aristocratic social and political norms of the Age of Enlightenmentand the scientific rationalization of nature—all components of modernity. The movement emphasized The Romantic Generation emotion as an authentic source of aesthetic experience, placing new emphasis on such emotions as apprehensionhorror and terrorand awe —especially that experienced in confronting the new aesthetic categories
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