Abstract and Keywords
This chapter contextualizes nineteenth-century music within the history, theory, and aesthetics of emotion, especially within Romantic compositional style. As well as being a time when music was adjudged to be especially emotional, the nineteenth century was the point where emotion as a conceptual category was properly defined. The chapter explores the tensions and contradictions of musical emotion as it played out between “wave” and “particle” models (emotion as process; emotion as stimulus) and between inwardness and basic categories of experience. It ranges over idealist and empiricist approaches across four main national contexts: Austro-Germany, France, Italy, and Britain, concluding with the aftermath of Darwinism and the dawn of phenomenology.
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