| Description |
1 online resource (viii, 92 pages) : illustrations |
| Series |
Monographs in musicology ; no. 13 |
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Monographs in musicology ; no. 13.
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| Contents |
Naming the era -- The proposal : the first main theme -- The proposal : the second main theme -- Synergy of forces -- Defining the expressive ideal -- Vocal art and the expressive ideal -- Instrumental art and the expressive ideal -- Intensity and interrelationships in the arts -- Coda |
| Summary |
"What shall we call the era in Western music history from 1750 to 1900? Listeners and scholars alike treasure the works of its great composers: Mozart, Beethoven, Chopin, Wagner, Tchaikovsky. A powerfully symbolic name, though - analogous to "baroque" for the previous era - still eludes us. The Era after the Baroque proposes a powerful symbol for the new era while at the same time keeping traditional terminology intact. It looks at the age in a primarily positive manner while still acknowledging its darker aspects. In particular, it evokes the existence of a newly recognized system of "fine arts" and therefore has resonances for the visual and literary arts in addition to its primary focus on music."--Jacket |
| Bibliography |
Includes bibliographical references and index |
| Notes |
English |
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Print version record |
| Subject |
Music -- 19th century -- History and criticism.
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Music -- 18th century -- History and criticism.
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Art and music.
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Music -- history
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Art and music
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Music
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Musik
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Muziek.
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Literatuur (fictie en non-fictie)
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Schilderkunst.
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Expressie.
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| Genre/Form |
Criticism, interpretation, etc.
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| Form |
Electronic book
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