ROMANTIC MUSIC (The Arts)
The ideals of instrumental music
At one point in the national of the Romantic period of music, we come upon
the first of several ostensibly opposing conditions that plague all attempts
to grasp
the meaning of Romantic as applied to the music of the 19th coulomb. This
opposition involved the relation amid music and words. If instrumental
music
is the perfect Romantic art, why is it acknowledged that the commodious masters of
the
symphony, the highest form of instrumental music, were not Romantic
composers,
but were the Classical composers, Haydn, Mozart, and van Beethoven? Moreover,
one
of the most characteristic 19th century genres was the Lied, a birdcall piece in
which
Shubert, Schumann, Brahams, and Wolf attained a new trade union between music and
poetry. Furthermore, a large number of lead story composers in the 19th century
were extremely interested and articulate in literary expression, and leading
Romantic novelists and poets wrote about music with deep love and insight.
The employment between the ideal of pure instrumental music (absolute music)
as the crowning(prenominal) Romantic mode of expression, and the strong literary
orientation of
the 19th century, was resolved in the conception of program music. Program
music, as Liszt and others in the 19th century used the term, is music
associated
with poetic, descriptive, and even narrative playing area look.
This is done
not by
means of musical figures imitating indispensable sounds and movements, but by
imaginative suggestion. Program music aimed to absorb and transmit the
imagined
subject matter in such a way that the resulting work, although programmed,
does
not sound forced, and transcends the subject matter it seeks to represent.
Instrumental music thus became a vehicle for the vox of thoughts which,
although first hinted in words, may ultimately be beyond the power of words
to
fully express.
Practically...
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