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Music in the Galant Style

Music in the Galant Style For the student of late-eighteenth-century music seeking analytical methods to guide their investigations, a wide, even overwhelming, range of options is available—perhaps more than for any other period of music history. Roman numeral analysis is, of course, appropriate—if it is ever appropriate—and is often a starting point. For Schenkerian analysis, the “classical” period (the scare quotes will be explained below) has a prominent, perhaps even central, place in the theory’s domain; introductory presentations of Schenker often begin with classical-period pieces (Jonas [1934] 1982; Cadwallader and Gagne 1998). Studies of meter and hypermeter have also given particular attention to the classical repertoire (Kamien 1993; McKee 2004; McClelland 2006). Other analytical approaches are tailored to the classical period more exclusively. William Caplin (1998) and James Hepokoski and Warren Darcy (2006) have proposed elaborate theories of the formal structures of the classical style. Leonard Ratner (1980) and Gretchen Wheelock (1992) offer perspectives more grounded in the aesthetic milieu of the era, focusing (respectively) on topics—musical gestures with extramusical meanings—and on the expression of wit and humor. And Charles Rosen’s eclectic The Classical Style (1971), while perhaps not representing a coherent “analytical method,” still offers much of interest and value for the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

Music in the Galant Style

Temperley, David
Journal of Music Theory , Volume 50 (2) – Jan 1, 2006
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Publisher
Duke University Press
Copyright
Copyright 2006 by Yale University
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-2008-018
Publisher site
See Article on Publisher Site

Abstract

For the student of late-eighteenth-century music seeking analytical methods to guide their investigations, a wide, even overwhelming, range of options is available—perhaps more than for any other period of music history. Roman numeral analysis is, of course, appropriate—if it is ever appropriate—and is often a starting point. For Schenkerian analysis, the “classical” period (the scare quotes will be explained below) has a prominent, perhaps even central, place in the theory’s domain; introductory presentations of Schenker often begin with classical-period pieces (Jonas [1934] 1982; Cadwallader and Gagne 1998). Studies of meter and hypermeter have also given particular attention to the classical repertoire (Kamien 1993; McKee 2004; McClelland 2006). Other analytical approaches are tailored to the classical period more exclusively. William Caplin (1998) and James Hepokoski and Warren Darcy (2006) have proposed elaborate theories of the formal structures of the classical style. Leonard Ratner (1980) and Gretchen Wheelock (1992) offer perspectives more grounded in the aesthetic milieu of the era, focusing (respectively) on topics—musical gestures with extramusical meanings—and on the expression of wit and humor. And Charles Rosen’s eclectic The Classical Style (1971), while perhaps not representing a coherent “analytical method,” still offers much of interest and value for the

Journal

Journal of Music Theory – Duke University Press

Published: Jan 1, 2006

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