The influence of romantic literature on romantic music in Germany during the first half of the nineteenth century
Siegel, Linda Suzanne
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Literary movements, in one way or another, have influenced music throughout the history of art. The interaction between these two forms of art, however, is nowhere so prominent in the history of music as in Germany durinq the years, 1800-1850, the so-called "golden age" of Romantic music. Indeed, German Romantic literature and German Romantic music were so closely interwoven during this period that it is difficult to separate one from the other. In truth, a new literary-musical art had developed in Germany during the first half of the nineteenth century. The synthesis between German Romantic music and German Romantic literature has been appreciated more by literary scholars than by scholars of music. George C. Schoolfield's The Figure of the Musician in German Literature (The University of North Carolina Press, 1956) is, for example, a significant study. In music, however, there is no one work which deals adequately, to my knowledge, with the interaction between these two arts. Even in articles relating to the subject two prominent figures have been neglected, Wilhelm Heinrich Wackenroder and Ludwig Tieck. It is due to the belief that German Romantic music cannot be fully understood without a knowledge of German Romantic literature and their interrelationships that this study was undertaken. The dissertation concentrates on the six German Romantic writers who have exerted the qreatest influence on German Romantic music: Wackenroder, Tieck, Navalis, E. T. A. Hoffmann, Heinrich Heine, and Jean Paul Richter. The first chapter deals with two works by Goethe, Wilhelm Meister and Faust. Other Romantic writers, such as Marike and Eichendorff, have also been included whenever a comparison was possible [TRUNCATED].
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