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Humanities Presentation: Romantic Period

Romantic Period

Sanora Carswell

on 13 December 2014

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Transcript of Humanities Presentation: Romantic Period

by: Sanora Carswell
Romantic Period
What I think...
Sometimes a new style of music happens when composers forcefully reject the old style. Early Classical composers, were determined to get away from what they considered the excesses of the Baroque style. Modern composers also were consciously trying to invent something new and very different.

But the composers of the Romantic era did not reject Classical music.
Artists of the Romantic Period tried to capture these ideals in their work.
Art of this time was trying to get a certain emotion across to the observer and I think it was promoting the idea of change and self-discovery.
During this time, Romantics challenged the idea that reason was the one path to truth, judging it inadequate in understanding the great mysteries of life.
These mysteries could be uncovered with emotion, imagination, and intuition. Nature was especially celebrated as a classroom for self-discovery and spiritual learning, the place in which mysteries could be revealed to the mind of man.
Romantics emphasized a life filled with deep feeling, spirituality, and free expression, seeing such virtues as a bulwark against the dehumanizing effects of industrialization. They also extolled the value of human beings, which they believed to have infinite, godlike potential.
Did artists of this time period feel that they could make a difference by depicting certian problems in a certain light to show reason?
If this period portrayed freedom, why did some of the art show signs of still trying to break free of constrint?
How was music affected by the change of time period?
Did any musicians compose any pieces to reflect what was going on in society as artists did?
The main difference between Classical and Romantic music came from attitudes towards these "rules".
In the eighteenth century, composers were primarily interested in forms, melodies, and harmonies that provided an easily-audible structure for the music.
In the nineteenth century (see below), the "rules" that provided this structure were more likely to be seen as boundaries and limits that needed to be explored, tested, and even defied.
They were consciously emulating the composers they considered to be the great classicists:
Haydn, Mozart,
and particularly
They continued to write
symphonies, concertos, sonatas,
, forms that were all popular with classical composers.
They also kept the basic rules for these forms, as well as keeping the rules of rhythm, melody, harmony, harmonic progression, tuning, and performance practice that were established in (or before) the Classical period.
Art of this period also depicted the romantic ideal of nationalism.
Like Baroque artists, Romantic artists hoped to inspire an emotional response in those who viewed their art; but instead of seeking to inspire faith as their predecessors had, most sought to evoke a nostalgic yearning for rural, pastoral life, the stirrings of life’s mysteries, and a sense of the power and grandeur of nature.
They rejected the rationalism and rules-driven orderliness that characterized the Neoclassical style of the Enlightenment.
Yes they did, artists tried to create a better sense of nature in people and society, and to encourage imagination.
Music was already looking to break free of its constraints during this time. It shifted along with everything else in society.
Anyone can look at the art or music of a time period and get an insight of what it was like during that time.
Musicians did not necessarily "compose" any piece to reflect what was going on in society. Just by expanding the constraints and changing the rules on its category was reflected society.
Works Cited:
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