THE NEW MADRIGALISM
There was another way in which the new emphasis on poetic or literary content affected New German musical style, and it proved ultimately the more subversive one. In curious fashion it paralleled a much earlier striving for the “unity of the poetic and the musical,” when in the late sixteenth century the composers of those sophisticated Italian part-songs known as madrigals became carried away with the project of representing strong emotion in their music and infused it with a degree of chromaticism without precedent, and without equal until precisely the moment we are now investigating, when a similar impulse (though now more strongly motivated by philosophical than by emotional content) turned Liszt into the nineteenth century's most zealous harmonic experimenter.
- Citation (MLA):
- Richard Taruskin. "Chapter 8 Midcentury." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 28 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-008005.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 8 Midcentury. In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 28 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-008005.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 8 Midcentury." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 28 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-008005.xml