MUS- M 402 1st EditionLecture 14Outline of Last LectureI. RomanticismII. Lyric Binary FormOutline of Current LectureI. Portraying Romanticism in MusicII. The ArtistIII. Transcendental MusicCurrent LectureI. Portraying Romanticism in Musica. What about music makes it sound “Romantic”? What aspects of music (or musical performance or experience) differ from a “classical” perception of music in how it preoccupies the audience? Can a deeper understanding of romantic-perceptions of instrumental music be gained? i. Composers of the Romantic Era believed that music should reflect a “higher” meaning.1. Therefore, all music was not just meant for anyone; music was meant for those who could understand it. a. With that realization comes the acknowledgement that notall people will understand this “higher” meaning of music; there are going to just be those people who cannot and will not understand it. ii. Good music must be composed with good skill and inspiration.iii. Individualized and personal responses to music reflect how “moved” the spirit was during the performance. II. The Artista. The idea of the artist- someone who is technically proficient, but has moments ofinspiration “from God” and communicates this to the audience. i. In previous periods, music with text was considered a higher art form because text was considered to be closer to God.1. Instrumental music definitely played a more secondary role and was seen as less holy.ii. In this Romantic Period, however, instrumental music, or absolute music- music speaks for itself, is at least as powerful (if not more powerful) than vocal music. 1. In vocal music, the audience is more or less told what to feel through the text. 2. Instrumental music invites subjective and personal responses fromindividuals that very incredibly from person to person. a. This concept becomes very important in the Romantic Era. III. Transcendental Musica. Transcendental- to transcend, to go beyond basic skill with virtuosity; to go beyond the boring reality of everyday life with music. i. This technique is seen A LOT in Chopins’
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