The concept<i>galant</i>in the 18th century

Sheldon, David A.

doi:10.1080/01411898908574612

Cited by 17 publications

(5 citation statements)

References 6 publications

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“…The presence of this opposition gives rise to the possibility that other, non‐aristocratic forms of music may have simultaneously held sway in the eighteenth century. Another hint at the potential presence of non‐aristocratic music lies in Sheldon's (1989, p. 96) association of galant with Scheibe's (1745) ‘middle style’, as distinct from his ‘high’ and ‘low’ styles 4…”

Section: Problematisationmentioning

confidence: 99%

“…Considering both the backdrop of eighteenth‐century writings and the etymological research of Mark Radice (1999) and David Sheldon (1975 and 1989), this definition initially appears to raise a number of issues. For instance, one is not likely to find J. S. Bach on a list such as Mattheson's ‘most famous and most galant composers in Europe’, yet Gjerdingen (2007a, p. 6) holds that even this ‘paradigmatic Baroque’ composer could create galant music when he chose to do so 1.…”

mentioning

confidence: 99%

“…The characteristics he ascribes to ‘galant men and women’ (2007a, p. 5) originated in seventeenth‐century France, were imported to Germany, and underwent substantial changes in interpretation throughout the seventeenth and eighteenth centuries (Sheldon 1975, pp. 241–2, and 1989, pp. 101–2; and Heartz 2003, p. 18).…”

mentioning

confidence: 99%

“…101–2; and Heartz 2003, p. 18). Under Gjerdingen's definition, the various positive and negative connotations and even self‐contradictions within the term (Sheldon 1989, p. 102) are subsumed into the general ‘traits, attitudes and manners associated with the cultured nobility’ (Gjerdingen 2007a, p. 5). The nature of this ‘Gjerdingenian’ galant style (hereafter denoted by the term galant , in italics), then, is such that it need not be attached to either the eighteenth‐century association of galant with music or the changing status of the galant homme across the eighteenth century and amongst different nationalities.…”

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confidence: 99%

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Revisiting the Galant in Gjerdingenian Schemata

2023

Music Analysis

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Robert Gjerdingen's schema theory focuses the long‐debated ‘galant’ style concretely onto an inventory of stock musical phrases, or ‘galant schemata’. The rich historico‐cognitive discourse sparked by this growing ‘schematicon’ has provided significant theoretical evidence for their historical situatedness, coherence and objectivity; however, there remains a shortage of empirical studies that problematise their contexts of applicability, as well as descriptiveness within full galant works. In light of this, the present investigation schematically interprets three varied works by the eighteenth‐century composer C. P. E. Bach, who is known for pushing the boundaries of the galant style: the Magnificat in D, Wq. 215; Die Israeliten in der Wüste, Wq. 238 (all applicable movements); and the ‘Württemberg’ Sonatas, Wq. 49 (opening movements). Similar proportions of each vocal work are found to be covered by galant schemata (55 per cent and 46 per cent, respectively), atypical schema variants (17 per cent and 24 per cent respectively) and non‐schematic space (25 per cent each), whilst the ‘Württemberg’ Sonatas yielded more (82 per cent) typical schemata, fewer (3 per cent) atypical schemata and reduced (13 per cent) non‐schematic space. Comparisons and analyses within and between these works and schematic categories reveal potential additions to the galant schematicon; highlight the existence of interactions between galant schemata, higher‐level schemas and partimenti schemata; and elucidate both fluid and strict understandings of Gjerdingen's galant category within eighteenth‐century music. Consequently, they focus the question of schema historicity back onto their galant situatedness and establish an important evidence‐based framework from which the Gjerdingenian galant category – and the schemata which constitute it – may be further elucidated.

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Section: Problematisationmentioning

confidence: 99%

mentioning

confidence: 99%

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confidence: 99%

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confidence: 99%

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Revisiting the Galant in Gjerdingenian Schemata

2023

Music Analysis

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“…11 Technically, one reason why Cimarosa (1749-1801) is pulled into this pre-classical group of composers is that some of his personal musical influences in our database are rather backward-looking (D. Scarlatti, Pergolesi, and Piccinni), and in terms of ecological characteristics, his name is associated with a relatively imprecise category of operas from 1600 to 1800. Interestingly, from a musicological point of view, Sheldon (1989) argues that "the essential problem of 'Pre-Classic,' is actually one of 'Classic,' an aesthetic normative concept based on the accomplishments of a few 'great men'. In other words, the obvious drawback of 'Viennese Classicism' as a style period designation is that it excludes far more than it includes.…”

Section: Clustering Techniques and Dendrogramsmentioning

confidence: 99%

Visualizing music similarity: clustering and mapping 500 classical music composers

Georges

Nguyen

2019

Scientometrics

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This paper applies clustering techniques and multi-dimensional scaling (MDS) analysis to a 500 × 500 composers' similarity/distance matrix. The objective is to visualize or translate the similarity matrix into dendrograms and maps of classical (European art) music composers. We construct dendrograms and maps for the Baroque, Classical, and Romantic periods, and a map that represents seven centuries of European art music in one single graph. Finally, we also use linear and non-linear canonical correlation analyses to identify variables underlying the dimensions generated by the MDS methodology.

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The Keyboard Sonatas of Domenico Scarlatti and Eighteenth-Century Musical Style

Sutcliffe

2003

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W. Dean Sutcliffe investigates one of the greatest yet least understood repertories of Western keyboard music: the 555 keyboard sonatas of Domenico Scarlatti. Scarlatti occupies a position of solitary splendour in musical history. The sources of his style are often obscure and his immediate influence is difficult to discern. Further, the lack of hard documentary evidence has hindered musicological activity. Dr Sutcliffe offers not just a thorough reconsideration of the historical factors that have contributed to Scarlatti's position, but also sustained engagement with the music, offering both individual readings and broader commentary of an unprecedented kind. A principal task of this book is to remove the composer from his critical ghetto (however honourable) and redefine his image. In so doing it will reflect on the historiographical difficulties involved in understanding eighteenth-century musical style.

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The conceptgalantin the 18th century

Cited by 17 publications

References 6 publications

Revisiting the Galant in Gjerdingenian Schemata

Revisiting the Galant in Gjerdingenian Schemata

Visualizing music similarity: clustering and mapping 500 classical music composers

The Keyboard Sonatas of Domenico Scarlatti and Eighteenth-Century Musical Style

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