Awards
- Winner of Winner of the Society for Music Theory's Wallace Berry Award.
Overview
"Music in the Galant Style is an authoritative and readily understandable study of the core compositional style of the eighteenth century. Gjerdingen adopts a unique approach, based on a massive but little-known corpus of pedagogical workbooks used by the most influential teachers of the century, the Italian partimenti. He has brought this vital repository of compositional methods into confrontation with a set of schemata distilled from an enormous body of eighteenth-century music, much of it known only to specialists, formative of the ""galant style."""
Full Product Details
Author: Robert Gjerdingen (Professor of Music, School of Music, Professor of Music, School of Music, Northwestern University)
Publisher: Oxford University Press Inc
Imprint: Oxford University Press Inc
Dimensions:
Width: 21.30cm
, Height: 2.50cm
, Length: 27.70cm
Weight: 1.202kg
ISBN: 9780190095819
ISBN 10: 0190095814
Pages: 528
Publication Date: 26 December 2019
Audience:
Professional and scholarly
,
Professional & Vocational
Format: Paperback
Publisher's Status: Active
Availability: To order
Stock availability from the supplier is unknown. We will order it for you and ship this item to you once it is received by us.
Reviews
Music in the galant style must count, both in 18th-century music studies and in music theory, as one of the most significant publications of recent decades. * Early Music * After reading this text, I came away believing that I had learned much that was new, that I had significantly refined my hearing of galant style, and that I had developed a greater appreciation of music that is generally unfamiliar but deserving of greater performance. One can hardly ask more from any book! * William E. Caplin, Professor of Music Theory, McGill University * Gjerdingen's study promises to reframe nearly all the work that scholars have lavished on compositional practice in the eighteenth century by answering a question that no one seems to have asked before now - how were eighteenth-century composers (Italian-born and Italian-trained composers above all) able to produce such massive quantities of music in such a broad spectrum of genres, and to do so with both facility and taste? * Thomas Bauman, Professor of Musicology, Northwestern University * A path-breaking work in musical analysis. Professor Gjerdingen opens the doors into the compositional studios of the 18th century, showing us how characteristic idioms within the galant style that formed a lingua franca among musicians across Europe can be modeled-and easily replicated * by a small number of recurring voice-leading 'schema.' Richly illustrated with diverse musical examples and eye-catching graphics, this remarkable and original study will prove invaluable to all analysts and historians of 18th century music. -Thomas Christensen, Professor of Music, University of Chicago * After reading this text, I came away believing that I had learned much that was new, that I had significantly refined my hearing of galant style, and that I had developed a greater appreciation of music that is generally unfamiliar but deserving of greater performance. One can hardly ask more from any book! * William E. Caplin, Professor of Music Theory, McGill University * Gjerdingen's study promises to reframe nearly all the work that scholars have lavished on compositional practice in the eighteenth century by answering a question that no one seems to have asked before now - how were eighteenth-century composers (Italian-born and Italian-trained composers above all) able to produce such massive quantities of music in such a broad spectrum of genres, and to do so with both facility and taste? * Thomas Bauman, Professor of Musicology, Northwestern University * A path-breaking work in musical analysis. Professor Gjerdingen opens the doors into the compositional studios of the 18th century, showing us how characteristic idioms within the galant style that formed a lingua franca among musicians across Europe can be modeled-and easily replicated * by a small number of recurring voice-leading 'schema.' Richly illustrated with diverse musical examples and eye-catching graphics, this remarkable and original study will prove invaluable to all analysts and historians of 18th century music. -Thomas Christensen, Professor of Music, University of Chicago *
Author Information
Robert Gjerdingen is Professor of Music at Northwestern University's School of Music
