In contemporary times, the term romanticism when it comes to music refers to that period roughly between 1810 and 1900 when there was a revival for the need to listen to ‘medieval’ music. It is interesting to note that though this may be the case, historians are yet to agree on the actual time when this music was rekindled. Certainly, there is evidence that the ‘romantic era’ began before 1810. E.T.A Hoffman, a German romantic music critic, often referred to Ludwig van Beethoven, Joseph Haydn, and Wolfgang Mozart as romantic composers. Ludwig van Spohr seemed to corroborate this argument in his analysis of Beethoven’s 5 th Symphony as a true romantic art. However, music historians have termed the three as classical composers and not romantic artists. Modernism on the other hand refers to that period after 1900 when there was a departure from the past in all matters art, religion, science and politics. The first of the modernists in music sought to begin new dimensions and depths in music through the use of non-conventional instruments and novel sounds. Modernists such as Luigi Russolo contemplated a future in music where even factory noises would be considered musical. Edgard Varese was among the first modernists to adopt new music techniques with his ‘ Poeme Electronique’ (electronic poem). The difference between the two schools of thought though quite clear had some merged issues that involved the rekindled need for romantic music in the modern age in what is referred to as neo-romanticism. In fact, modernism has received wide criticism from audiences for its efforts to avoid comprehensiveness when it comes to performance compared to romantic works that used less semantic density and more of harmonious melody to achieve comprehension in the audience. Though modernists have brought in new talent and novel instruments such as electronic guitars and keyboards, the romantic era had what could be called ‘pure’ music where there was emphasis on instrumentals as well as vocal music. The modernist age tends to raise the latter over the former. Indeed the need for the so called ‘real’ music has created the beginning of a neo-romantic age. Modernists are turning to the use of traditional instruments and soloist performances in the characteristic styles of virtuosi such as Niccolo Paganini and Franz Liszt. The early 19 th Century romantics brought music to new dimensions. These talents introduced novelties such as iron-framed pianos and metal-stringed instruments thus enhancing acoustics with more virtuosity and tonal colour. The introduction of developments such as long compositions, programmed titles and new genres in romanticism such as tone poems, concert overtures, rhapsodies and virtuosic concertos made the romantic era musicians lovable to their audiences. Music was harmonious, passionate and chromatic (colorful) [7] . Modernists brought about the expansion of tonality. Music composers who brought about these great changes were Schoenberg, Strauss, Mahler and Debussy. The concept of polytonality was introduced and expanded by talents such as Paul Hindemith, Darius Milhaud and Ives. Other changes were later to come through Arnold Schoenberg’s with h