The experience of a late-romantic symphony concert is evoked as emotionally engaging in a way that offers profound and intimate experiences that may be mocked in public discourse as “self-indulgent” or a mode of high-class cultural practice allied to forms of elitism. Definitions and analyses of “late romanticism” (not least as a form of “decadence”) are considered and the book's course set out as one that approaches the politics of late-romantic musical experience as a matter of being beguiled by “singing devils” or inspired by subjective experiences more participatory and self-aware than merely passive in character.
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