Early Romantic Era

This study restores and enhances the philosophical aspect of early German Romanticism, offering an understanding of the movement's origins, development, aims and accomplishments.

Explains the development of Romantic arts and culture in Germany, with both individual artists and key themes covered in detail.

Innovative, alternative account of romanticism, exploring how art and science together contested the evidentiary authority of the human body.

One of a series examining the development of music in specific places during particular times. This volume looks at the development of music in the early Romantic era, 1789-1849, in Paris, Berlin, Dresden, Leipzig, London, Italy, the USA, Moscow, St Petersburg and Latin America.

Often portrayed as a movement of poets lost in swells of passion, early German Romanticism has been generally overlooked by scholars in favor of the great system-builders of the post-Kantian period, Schelling and Hegel. In the twelve lectures collected here, Manfred Frank redresses this oversight, offering an in-depth exploration of the philosophical contributions and contemporary relevance of early German Romanticism. Arguing that the early German Romantics initiated an original movement away from idealism, Frank brings the leading figures of the movement, Friedrich Schlegel and Friedrich von Hardenberg (Novalis), into concert with contemporary philosophical developments, and explores the role that Friedrich Hölderlin and other members of the Homburg Circle had upon the development of early German Romantic philosophy.

What is Romanticism? In this Very Short Introduction Michael Ferber answers this by considering who the romantics were and looks at what they had in common — their ideas, beliefs, commitments, and tastes. He looks at the birth and growth of Romanticism throughout Europe and the Americas, and examines various types of Romantic literature, music, painting, religion, and philosophy. Focusing on topics, Ferber looks at the 'Sensibility' movement, which preceded Romanticism; the rising prestige of the poet; Romanticism as a religious trend; Romantic philosophy and science; Romantic responses to the French Revolution; and the condition of women. Using examples and quotations he presents a clear insight into this very diverse movement, and offers a definition as well as a discussion of the word 'Romantic' and where it came from. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

Robert Schumann (1810-56) is one of the most important and representative composers of the Romantic era. Here acclaimed biographer martin Geck tells the story of this multifaceted genius, set in the context of the political and social revolutions of his time.

Music theorists have long believed that 19th-century triadic progressions idiomatically extend the diatonic syntax of 18th-century classical tonality, and have accordingly unified the two repertories under a single mode of representation. Post-structuralist musicologists have challenged this belief, advancing the view that many romantic triadic progressions exceed the reach of classical syntax and are mobilized as the result of a transgressive, anti-syntactic impulse. In Audacious Euphony, author Richard Cohn takes both of these views to task, arguing that romantic harmony operates under syntactic principles distinct from those that underlie classical tonality, but no less susceptible to systematic definition. Charting this alternative triadic syntax, Cohn reconceives what consonant triads are, and how they relate to one another. In doing so, he shows that major and minor triads have two distinct natures: one based on their acoustic properties, and the other on their ability to voice-lead smoothly to each other in the chromatic universe. Whereas their acoustic nature underlies the diatonic tonality of the classical tradition, their voice-leading properties are optimized by the pan-triadic progressions characteristic of the 19th century. Audacious Euphony develops a set of inter-related maps that organize intuitions about triadic proximity as seen through the lens of voice-leading proximity, using various geometries related to the 19th-century Tonnetz. This model leads to cogent analyses both of particular compositions and of historical trends across the long nineteenth century. Essential reading for music theorists, Audacious Euphony is also a valuable resource for music historians, performers and composers.