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Romantic music is a stylistic movement in Western Classical music associated with the period of the 19th century commonly referred to as the Romantic era (or Romantic period). It is closely related to the broader concept of Romanticism —the intellectual, artistic, and literary movement that became prominent in Western culture from about 1798 ...
Romantic music was a self-conscious break from the ideals of the Age of Enlightenment [3] as well as a reaction to socio-political desire for greater human freedom from despotism. [4] The movement sought to express the liberty, fraternity, and equality which writers such as Heinrich Heine and Victor Hugo artistically defended by creating new ...
Romanticism (also known as the Romantic movement or Romantic era) was an artistic and intellectual movement that originated in Europe towards the end of the 18th century. The purpose of the movement was to advocate for the importance of subjectivity , imagination , and appreciation of nature in society and culture in response to the Age of ...
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In Western classical music, neoromanticism is a return to the emotional expression associated with nineteenth-century Romanticism. Throughout the 20th and into the 21st century, numerous composers have created works which rejected or ignored emerging styles such as Modernism and Postmodernism .
The group of words with the root "Roman" in the various European languages, such as "romance" and "Romanesque", has a complicated history. By the 18th century, European languages – notably German, French and Slavic languages – were using the term "Roman" in the sense of the English word "novel", i.e. a work of popular narrative fiction. [2]
Romantic poetry is the poetry of the Romantic era, an artistic, literary, musical and intellectual movement that originated in Europe towards the end of the 18th century. It involved a reaction against prevailing Neoclassical ideas of the 18th century, [ 1 ] and lasted approximately from 1800 to 1850.
The Opus 31 works are the first examples of the new and unconventional ideas Beethoven adopted in an attempt to make a name for himself. For example, in the first movement, unlike most sonata allegro forms in which the second theme of the exposition is dominant, the second theme is in B major and B minor, the mediant of the