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Education » Literary
The New Shudder: About the Fantastic of Musical Romanticism screenshot
Christian Kämpf | 2024 | ISBN: 3476059359 | English | 278 pages | True PDF | 4 MB
"It is a new shudder, but not an old fear." Jean Paul's sentence contains an aesthetic of the fantastic in nuce. It is based not least on the philosophy of Friedrich Heinrich Jacobi and aims at the essence of Romanticism. In addition to works by Mozart, Beethoven, Schumann and Wagner, the Romantic magic opera by Spohr, Weber and Marschner are placed in the centre of interest against this background, as well as the music-aesthetic discourse accompanying them, which was led by Tieck, Hoffmann and Horn, A. B. Marx, Brendel and Pohl, are analysed.

Contrary to the tradition of musicological research, which, if not taboo, at least trivialised the fantastic, Kämpf arrives at a new understanding of musical Romanticism, according to which it does not lose its affiliation with modernity and its impact on the present because of the fantastic, but only gains it.


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  Releaser 21.07.2012 16120 6817
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  Resident 21.04.2014 1664
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The German writer Christian Kämpf, who can't even be found in a Google search, had plenty of time to write, but not to research.

The global consensus on Romanticism should not be confused with poetry. Romantic music is that which belonged to the Romantic period of history, and Romantic poetry is something else, although they share some common characteristics such as:

Emotional Expression: In both Romantic music and poetry, there is an emphasis on the expression of individual emotions and feelings. Artists sought to convey personal and subjective experiences. Both movements often drew inspiration from nature and rejected Rationalism: Romanticism opposed rationalism of the classicism, valuing intuition, imagination and creativity.

Therefore, the music made in classicism includes Mozart and everything before him, Haydn, and even the sons of the Baroque J.S. Bach contributed to the birth of classicism, that is, the search for perfection and the ideas of ancient Greece, and with this everything was rationalized to the extreme, with very established rules for making music.

The author takes a phrase from another author and builds his thesis, about what is FANTASTIC in music. Please, this has nothing to do with romanticism or classicism, it seems to be a personal opinion about something, a food or drink that we consume.

He himself quotes the German philosopher Kant many times, which he himself uses against himself in this book:
"Supersensible Intuition: This new level is a form of intuition that anticipates something that cannot be perceived by the senses, which he calls "hunch". This intuition is an expectation of mysteries that cannot be fully understood or explained.

Risk of Fanaticism: Kant warns that this form of intuition can lead to a "disturbance of the mind" and fanaticism, as it is a form of knowledge that is not based on rational concepts, but on a mystical communication or enlightenment that promises answers that reason cannot provide.

And this is exactly what we are experiencing in today's world, with people who want their perfect and classical world in charge of the planet, while other people want the right to freedom to be whatever they want. I myself will not express my opinion about the right-wing minority of the globe, 'Marie Le Pen' and others, because we will have to live with everything that is happening until the end of time. that we have to see on a daily basis, whether we like it or not, are on TV, radio, newspapers, and are ultra-intellectuals who make up this leftist majority. They are on our side all the time.

Classifying some of Mozart's works as fantastic is exactly what Kant says in the text above, guesswork and fanaticism will confuse you and hinder your understanding of the facts and the search for truth through research and experience; it seems to me that the right-wingers are conducting an experiment, which obviously won't work, hitler tried much harder and cowardly committed suicide.

To conclude, Kant influenced all of Romanticism by saying that when producing art, we should do it as if it were the last thing to be done, but the Romantics misunderstood, thinking that after making and showing their work they could die on stage after the performance. As a result, they produced absurd works. All they were all born around 1810.

By the way, Beethoven is considered the transition and death of the classical period to the romantic period.

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