Galant music

Galante music is the one music that carries modes of the Gallant bill after sense of style of the 17th and 18th centuries. The term took on the other hand a constriction in the musicology of the 19th and 20th centuries: The focus is on compositions, where a departure from the baroque in his more rhetorical form of language can be certified, but still only partially exhibit the early classical ascribed qualities simultaneously. The gallant style can be at this point as a step seen on the formal freer sensitive style, who prepared the pre-classical era.

Judgment patterns of the 17th and 18th century

The original related Conduite, a specific ( knightly ) behavior concept could be applied only partially in the 17th century music. In view of amorous subjects the word is explicitly in several compositions associated with music as in André L'Europe galante Campras (1697 ) as in Jean -Philippe Rameau's Les Indes Gallant ( 1735). They both celebrate the agreement in Europe, respectively the world in Gallant. Europe pays homage, the insinuation of " L'Europe galante " everywhere the ideal. Love itself determines the people of India as a sphere of life brings refinement and civilization; celebrating Rameau's ballet.

From gallant music is spoken in the 17th century, especially in judgments of taste, and these relate to wide-ranging to acts such as performance art of composition. Operas with love action are gallantly per se, as soon as they defended against some sacred music. Love songs are more clearly gallantly in their interaction as in its connection with gallant poetry. The interaction of a singer with the audience can take care of the judgment of taste. Compositional structures are so but initially only partially mapped. The large main styles are Italian, French or German mixed respectively. The word Galant stands against these classifications rather freely available to denote an instantaneous effect. As in poetry criticism occurs in the late 17th century increasingly for all small forms as an appreciation in question. It stands mostly for the " Cute " and pleasantly surprising the otherwise specifically simple composition, which could not appreciate in their intimate pleasure with other adjectives.

In addition, compositions in which perfection of form is of minor importance, referred to increasingly as gallantly in the late 17th century. A piece of music is gallant, when the audience leaves freedom in the judgment and in the association. Music that is suitable for divertissement and arranged as background music compositions often win the attribute. Campras L'Europe galante and Rameau's Les Indes Gallant share the same moment composition aspects with the small forms: It is characteristic of them stylistic diversity, danceability, performability under a gallant treat interaction, look at the detail of the individual pieces assembled. Similar arrangements of gallant detailed studies offer the collections Michel -Richard Dela country, François Couperin and Marin Marais ' that assemble in the early 18th century pieces of music to colorful themes bouquets. Looking for something a characteristic that may not repel at the same time, for music, for the moment a surprising sensation, which must not disturb the same time, the playful at best deal with expectations that arise here own compositions, classify contemporaries as gallant. As with gallant poetry and storytelling, the " nice idea " honored with the word, such as the absence of pedantry, the freedom that is " tasteful " and "elegant" used.

Galanter style

From the vague assessments short and surprising effects and freer use of the forms, a separate discourse on the galant style in music developed in the early 18th century. Authors such as Johann Mattheson, Johann David Heinichen and Johann Joachim Quantz lead him in critical journals, in the works of composition teaching as forewords by score printing. An important defining criterion for the galant style is thereby the absence of strict or bound style of writing. Judgments of taste of the early 18th century find so mid-18th century, a sound theoretical foundation. Was the song of a shepherd girl in a Tafelmusik Delaware State at the beginning of the century gallantly, as a Darbieterin amiable gallant occurred here in a simple manner, so can now claim as a theory that the gallant style of homophony gives new value, pays attention to lyricism and melody line, and the counterpoint as the complicated composition patterns as the joints of Johann Sebastian Bach issued a denial. Could you justify surprises as gallant moments in the early 18th century, so it is possible with the theoretical fixation of the discussion to explain individual dissonances for gallant. Middle of the 18th century finally captured the Empfindsamkeitsdebatte the Galante. Where in Delalande, Couperin and Marais possibilities of banter and surprising, however "nice" feelings were sought, the challenge now is to fundamentally win freedom for the feeling. The gallant style now becomes conventionalized as a counterpoint, defined rhetorischeren compositional forms of the 17th century and has in this confrontation at the end in the early classical period. Composers such as Johann Sebastian Bach is removed from the position in the Gallant in the same process, defines an epoch- break for the mid 18th century.

Gallantry

With the willingness to use the adjective " gallant " in recognition of the pleasantly surprising moment of the interesting and achieved with effortless ease effect goes in the course of the 18th century a special meaning of " gallantry " hand in hand. This refers to impressive small compositions that would not have in the course of a suite about after the specified sequence of dance movements appear necessary, however, be installed as the surprise to divertissement. The articles on Bach's cello suites offers distinctive contemporary example.