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19 - Musical Romanticism as a Historiographical Construct

from Part V - Histories

Published online by Cambridge University Press:  06 August 2021

By
Nicole Grimes
Edited by
Benedict Taylor
Benedict Taylor
Affiliation:
University of Edinburgh
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Summary

This chapter explores musical Romanticism as a historiographical concept. Drawing on a range of sources, from nineteenth-century writings to textbooks published in the twentieth century, it probes the distinction that has been made between classicism and Romanticism, noting that it is only when musical Romanticism is over that the concept of a Romantic era starts being crystallised. It investigates the degree to which the year 1848 can be considered to be a symbolic moment for the end of Romanticism and, through the music of the second half of the nineteenth century, considers the relationship between musical Romanticism and closely related concepts such as neo-Romanticism, realism, and modernity. Drawing on a wide range of historiographical writings from the second half of the twentieth century, it explores changing conceptions of where musical Romanticism is deemed to reside, whether in instrumental music or vocal music, and whether within the Germanic realm or beyond it. It investigates the place and role of women within musical Romanticism and explores their absence in writings on musical Romanticism in relation to broader writings on Romanticism and feminism.

Keywords

historiographyclassicismRomanticismrealismneo-Romanticismlate RomanticismModernismcanongeographiesgenderexclusion
Type
Chapter
Information
The Cambridge Companion to Music and Romanticism , pp. 327 - 342
Publisher: Cambridge University Press
Print publication year: 2021

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References

Further Reading

Blume, Friedrich. Classic and Romantic Music: A Comprehensive Survey (New York: Norton, 1970).Google Scholar
Cooper, John Michael (with Kinnett, Randy). Historical Dictionary of Romantic Music (Lanham MD: Scarecrow Press, 2013).Google Scholar
Dahlhaus, Carl. Between Romanticism and Modernism: Four Studies in the Music of the Later Nineteenth Century, trans. Mary Whittall (Berkeley and Los Angeles: University of California Press, 1980).Google Scholar
Dahlhaus, Carl. Nineteenth-Century Music, trans. Robinson, J. B. (Berkeley and Los Angeles: University of California Press, 1989).Google Scholar
Einstein, Alfred. Music in the Romantic Era: A History of Musical Thought in the 19th Century (New York: W. W. Norton & Co., 1947).Google Scholar
Frisch, Walter. Music in the Nineteenth Century (New York: Norton, 2013).Google Scholar
Lang, Paul Henry. Music in Western Civilization (London: Dent, 1942).Google Scholar
Longyear, Rey. Nineteenth-Century Romanticism in Music (Englewood Cliffs, NJ: Prentice Hall, 1988).Google Scholar
Mellor, Anne (ed.). Romanticism and Feminism (Bloomington, IN: Indiana University Press, 1988).Google Scholar
Pederson, Sanna. ‘Romantic Music under Siege in 1848’, in Bent, Ian (ed.), Music Theory in the Age of Romanticism (Cambridge: Cambridge University Press, 1996), 57–74.Google Scholar
Samson, Jim (ed.). The Cambridge History of Nineteenth-Century Music (Cambridge: Cambridge University Press, 2001).Google Scholar
Samson, Jim (ed.). The Late Romantic Era: From the Mid-19th Century to World War I (London: Macmillan, 1991).Google Scholar
Whittall, Arnold. Romantic Music: A Concise History from Schubert to Sibelius (London: Thames and Hudson, 1987).Google Scholar

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