With its belief in the authenticity of the solitary “I,” romanticism fostered a great burst of somewhat paradoxically “private” art. The paradox in the case of music, of course, is implicit in the act of publication or performance—a public display of privacy. But of course making one's private soul known to the world was, like all art, an act of representation, not to be confused (except to the extent that the confusion served art's purposes) with “reality.” The representation of private lives in published biographies, autobiographies, and diaries (genres that boomed during the nineteenth century) was a reflection of—and an example to—the aspirations of middle-class “self-made men” and their families, who were the primary consumers of this new romantic art.
- Citation (MLA):
- Richard Taruskin. "Chapter 2 The Music Trance." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 1 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-002002.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 2 The Music Trance. In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 1 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-002002.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 2 The Music Trance." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 1 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-002002.xml