Fantasia and Sensibility

Matthew William Head

doi:10.1093/oxfordhb/9780199841578.013.001

Fantasia and Sensibility

Research output: Chapter in Book/Report/Conference proceeding › Chapter › peer-review

Abstract

Fantasia and sensibility are not topics. Composed and improvised in all shapes and sizes, fantasias are not reducible to a single type of material. The fantasia was a host genre, a context of topical play, incorporating a range of stylistic and generic motifs. The frequent use of passages inspired by accompanied recitative and aria reveals an affinity with opera seria. The idea that the fantasia influences other genres is prominent in music criticism only after 1800 and represents an idealist trope foreign to much of the eighteenth century. Sensibility, though thematized in scenes of musical pathos and tenderness through a range of conventional materials, was not a musical style but a capacity for refined emotional response and sympathetic identification broadly relevant to the project of aesthetics and the fine arts.

Original language	English
Title of host publication	The Oxford Handbook of Topic Theory
Editors	Danuta Mirka
Place of Publication	New York
Publisher	Oxford University Press USA
Pages	259- 278
Edition	1st
ISBN (Print)	0190618809
DOIs	https://doi.org/10.1093/oxfordhb/9780199841578.013.001
Publication status	Published - 16 Aug 2014

Publication series

Name	Oxford Handbooks
Publisher	Oxford University Press

Keywords

Fantasia; Sensibility; Empfindsamkeit; C. P. E. Bach; Mechanical

Access to Document

10.1093/oxfordhb/9780199841578.013.001

http://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780199841578.001.0001/oxfordhb-9780199841578-e-001

Cite this

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Fantasia and Sensibility

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