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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1883 Excerpt: ...expression in his songs, when he consciously sought to connect them with different scenes, situations and events, come equally to their embodiment in his instrumental works, and stamp them unmistakably with romantic characteristics. In concluding this sketch of the Transition Period between the Classic and the Romantic, and of the three great composers whose genius and productive activity were chiefly instrumental in bringing about the inevitable change, a brief summing-up must suffice. Be it remembered that the classical ideal was an objective one; that is, the composer's mind was occupied with an object outside of himself; with his ideal conception, and with the work of embodying it. Feeling, which is the innermost content of music, is subjective; is an internal experience. When the mind of the composer is mainly occupied with feeling, the intellectual side of his work becomes less prominent. The intellectual element becomes then only a means for the expression of the feeling. In the Romantic writers, this predominance of feeling over the intellectual side of composition of content over form, is a prominent feature. The Romantic movement was the assertion of individualism in Art, of the importance of the private feelings of the composer and their right to truthful and vivid Chap, via expression as against the classical tendency to thrust them into the background, to give them expression only incidentally and unconsciously, while the mental activity was taken up with the realization of an ideal conceived of as objective, as in a sense outside of and foreign to the composer. Be it remembered, further, that the change from the predominance of the classical to the Romantic ideal was not sudden; it was a gradual development. The first interest of men in music ...

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