TY  - BOOK
AU  - Gjerdingen,Robert O.
ED  - Oxford University Press.
TI  - Music in the galant style
SN  - 9780195313710
AV  - ML240.3 .G54 2007
PY  - 2007///
CY  - New York
PB  - Oxford University Press
KW  - Music
KW  - Europe
KW  - 18th century
KW  - History and criticism
KW  - Style, Musical
KW  - Musical analysis
N1  - Includes index; -- The romanesca; -- The prinner; -- The fonte; -- A Minuet by Giovanni Battista Somis; -- The do-re-mi; -- The monte; -- A Theme and variations by Carl Ditters von Dittersdorf; -- The meyer; -- A Theme and variations by Joseph Haydn; -- Clasulae; -- An Andante by Christoph Willibald Gluck; -- The quiescenza; -- The ponte; -- A Grave sostenuto by Baldassare Galuppi; -- The fenaroli; -- An Allegro by Carl Ditters von Dittersdorf; -- The sol-fa-mi; -- An Andante by Johann Christian Bach; -- The indugio; -- A Cantabile by Simon Leduc; -- A Larghetto by Leonardo Leo; -- An Andantino by Baldassre Galuppi; -- An Andantino affettuoso by Niccolo Jommelli; -- The child Mozart; -- An Allegro by Wolfgang Amadeus Mozart; -- Il filo : a Poco adagio by Joseph Haydn; -- A model Adagio by Johann Joachim Quantz; -- A model Allegro by Francesco Galeazzi; -- Summary and cadenza
N2  - "Music in the Galant Style is the first book to examine the cognitive development of elite eighteenth-century musicians. Hundreds of musical examples from more than seventy composers illustrate the standard patterns that formed a core vocabulary for aspiring galant musicians. These patterns - schemata - provided an aural medium of exchange between a patron and his or her musicians. By providing a known context for most phrases and cadences, the galant schemata helped to foster a music culture in which the patron's public display of taste and discernment was a central feature." "In documenting the link between training in partimenti and the student musician's cognitive development of a repertory of preferred schemata, Music in the Galant Style pioneers a new approach to this centuries-old, but still living music tradition. By analogy to "historically informed" performance practice, the book suggests a new type of historically and cognitively informed music analysis. It offers a new set of tools to explore the very particular sense of musical etiquette that pervaded contemporary discourse on eighteenth-century music and its musicians." "The book will help students, scholars, performers, and all lovers of eighteenth-century music to develop a deeper understanding of eighteenth-century music and to broaden their view of the repertoire."--BOOK JACKET
ER  -