Robert O Gjerdingen
Dados Biográficos
| ID | 1153645 |
|---|---|
| NOME | Robert O Gjerdingen |
| PRENOMES | Robert |
| SOBRENOME | O Gjerdingen |
| ASSINATURA | GJERDINGEN R O |
| AFILIAÇÕES | Northwestern University |
| VERIFICADO | Não |
| TOTAL DE OBRAS | 47 |
| TOTAL DE CITAÇÕES | 97 |
| TOTAL COMO AUTOR | 47 |
| TOTAL COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 1990 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2025 |
| ÍNDICE H | 4 |
Figured Bass Accompaniment in Europe
What if the Artisans Knew What They Were Doing
The Partimenti of Giovanni Paisiello
Journal Article The Partimenti of Giovanni Paisiello: Pedagogy and PracticeNicoleta Paraschivescu Chris Walton Get access The Partimenti of Giovanni Paisiello: Pedagogy and Practice. By Nicoleta Paraschivescu; trans. by Chris Walton. 324 pages. Eastman Studies in Music. ( University of Rochester Press, Rochester, NY, and Woodbridge, 2022. ISBN 978-1-648-25036-1. £24.99.) Robert O Gjerdingen Robert O Gjerdingen Search for other works by this autho…
Musical Grammar
This article discusses musical grammar and the factors that shape it, including the psychological abilities and constraints that determine what humans can learn, remember, and reproduce. It illustrates the notion of musical grammar by imagining how music works and is explained in a fictional world—the land of Bijou. Bijouan music has similarities to an artificial music used in a recent empirical study of how listeners can learn a musical grammar …
Child Composers in the Old Conservatories
The original music conservatories were orphanages. Through innovative teaching methods the masters of these old institutions were able to transform poor and often illiterate castoffs into elite musicians, many of whom became famous in the history of classical music. The book tells the story of how this was done. It shows what the lessons were like, what a typical day was like for an orphan, and how children progressed from simple lessons to ones …
Schema Theory as a Construction Grammar
Construction grammar, recently described as "the fastest growing linguistic and interdisciplinary approach to language" (Goldberg 2013, 30) has its foundations in the psychology of human categorization and other general cognitive abilities. So does schema theory in music. In the first extended comparison of these research programs, we present six central principles of construction grammar and demonstrate their relevance and applicability to schem…
Historically Informed” Corpus Studies
Musicians can choose between various “historicist” or “presentist” ways of performing works from the past. Music scholars who study early music sometimes are forced to make similar choices. If one thinks of corpus studies in music as an objective form of counting the “elements of music,” the question of what constitutes an “element” can involve similar historicist/presentist dilemmas. The article examines three historically significant characteri…
Mozart'sObviouslyCorruptMinuet
The Romantic and Modern reception and reinterpretation of eighteenth-century music stretches over a period much longer than that of the eighteenth century itself, in the process forming its own authenticity and norms. Modern editors of eighteenth-century music must occasionally grapple with musical texts which appear to violate either the earlier or later standards. A minuet whose text seemed 'obviously corrupt' to the official editors of Mozart'…
Scanning the Dial
Given brief excerpts of commercially recorded music in one of ten broad genres of music, participants in this study were asked to evaluate each excerpt and to assign it to one of the ten genre labels. It was expected that participants would be good at this task, since they were the very consumers for whom much of this music had been created. But the speed at which participants could perform this task, including above-chance categorizations of exc…
Summary And Cadenza
a European n expert on the music of the Beatles, Tuomas Eerola, made a careful study of their experimental style. He compared the distribution over time of Beatles recordings that feature Indian instruments, tape manipulations, psychedelic or nostalgic lyrics, modal scales, changing meters, and so forth with the distribution over time of the Meyer, as reported in my A Classic Turn of Phrase.1 A graph of his comparison is shown below, with the muc…
An Andantino by Baldassare Galuppi
the tea m of Goldoni and Gallup once dominated musical comedy in the eighteenth century as Gilbert and Sullivan would later in the nineteenth. Carlo Goldoni wrote the words and Gallup the music for their La diavolessa (“The She-Devil”), a spoof on upper-class posturing and lower-class avarice. In the following text, Goldoni has Dorian, the gold-digging ingénue, sing in Venetian dialect to Don Poppone, an elderly gentleman, a scene typical of comm…
The Ponte
according to Repel, the Italian word Monte meant “a mountain to climb up onto,” font meant “a well to climb down into,” and Ponte meant “a bridge to cross over.”1 I have already discussed the rising pattern of the Monte in chapter 7 and the descending pattern of the font in chapter 4. Here I will discuss Riesel’s several interpretations of the “bridge” created by the Ponte.
The Indugio
court musicia ns in centra l europe wrote several major treatises during the 1750s and early 1760s. Those of Repel (1752, 1755, 1757, 1765) are still significant for their descriptions of compositional practice.1 The flute treatise of Quants (1752), the keyboard treatises of C. P. E. Bach (1753, 1762), and the violin treatise of Leopold Mozart (1756) are important for detailing performance practice.2 And the thoroughbass treatise of Johann Friedr…
Partimenti
Subject Baroque Music Collection: Oxford Scholarship Online
A Theme and Variations by Joseph Haydn
as chapel m aster to the Prince of Esterhazy in western Hungary, Haydn served a provincial court where the gallant style of music was clearly preferred. Some of his instrumental music was intended to be performed by the amateur musicians among the local aristocrats, the most important of whom was Haydn’s patron, the prince. The necessity of keeping this music within the technical grasp of amateurs sometimes prevented Haydn from exploiting the ful…
An Allegro by Wolfgang Amadeus Mozart
“for beginners” (furan finger) was a phrase once attached to the sonata KV545, though few beginners play it well. The subtitle does, nevertheless, hint at the infantilizeton of gallant music by later generations. Mozart’s Allegro, which by gallant standards was a remarkably sophisticated and advanced composition, seemed childishly simple to Romantic pianists more accustomed to the physically demanding works of Schumann, Liszt, or Rubenstein. No l…
A Larghetto by Leonardo Leo
the words came first in gala toper a. To an expert on early eighteenthcentury music, that is obvious. Yet since relatively few readers of this volume may have that expertise, permit me to continue with a series of similar statements that, while obvious to a few, are yet worth repeating given the long reign of opera serial as the absolute ruler of the gallant musical world.
The Fenaroli
two of the early Neapolitan n m asters of the gallants le, Francesco Durante and Leonardo Leo, were viewed by later generations of Italian musicians as having established important artistic lineages. Conservatory lore in Naples described two camps— the Durantisti and Leisti 1—with different approaches to the art of composition. Modern scholars, however, have found it difficult to substantiate this divide.2 Perhaps the relevant eighteenth-century …
An Allegro by Carl Ditters Von Dittersdorf
in size and scope, the Allegro from Dittersdorf’s sixth string quintet far surpasses the movements presented in previous chapters. More notes are played in its first eight bars than in all of the Somas minuet in chapter 5. Yet Dittersdorf’s writing is still largely grounded in the Italian gallant. It was his “mother tongue,” taught to him from about age twelve by Giuseppe Bonn (1711–1788), who had been sent to Naples by Charles VI to study with D…
Schema Prototypes
Subject Baroque Music Collection: Oxford Scholarship Online
The Prinner
gallant society valued polite y et playful conversation. In the skillful turn-taking that animated courtly banter, the ability to come up with an elegant riposte was at least as important as the ability to lead off. The slyest, most teasingly ambiguous opening gambit could fall flat if no one found a riposte to counter it. The chosen riposte could be effective even if it were conventional—perhaps an old saying or proverb—as long as it was employe…
The Meyer along with notes on the Jupiter, Pastorella, and Aprile
Giacomo Tritto bega n his Scuola di contrappunto [The School of Counterpoint] by citing his pedigree.1 He had studied “under the direction of the renowned maestro Signore Pasquale Camaro, who was a student of the celebrated Signore Leonardo Leo.” This pedigree, which was impeccable by eighteenth-century standards, meant that he had received a pure form of the largely oral tradition of instruction. Indeed, Triton’s own book contains more pages of …
Il Filo a poco adagio by Joseph Haydn
like Gallup’s famous ha marks of musical l excellence, “beauty, clarity, and fine modulation” (“vaghezza, chiarezza, e buona modulazione”),1 Leopold Mozart’s hallmarks of a master composer, “good technical composition and the arrangement of material: il filo” (“der guests, und die Droning, il filo”),2 can be difficult to translate into the language of our time. I, for instance, read Leopold as describing two concepts, with the second named in bot…
The Quiescenza
the Noseda collection of the Mila n Conservatory contains a large two-volume manuscript in which several different hands have copied hundreds of pertinent by Signorelli. The second of these volumes lists a number of rules of thumb (regole) for the student, and two of them pertain to pedal points on the keynote of the mode. The first rule is that “the pedal is formed from the chords of the fundamental bass.”1 The pertinent written below the rule m…
The Sol-Fa-Mi
a French m a unscripted from Dijon contains a setting by Gallup of Confitibor tibi Domine (Psalm 111, known in English as “I will praise the Lord with all my heart”).1 Gallup’s sacred music is every bit as graceful as his secular music, and full of elegant details. Two versions of the music that opens this motet are shown below. The first version is from the soprano’s initial entrance and features a melodic Sol-Fa-Mi linked to a Long cadence that…
Music in the Galant Style
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 enormou…
Studies on the Origin of Harmonic Tonality
Carl Dahlhaus was without doubt the premier musicologist of the postwar generation, a giant whose recent death was mourned the world over. Translated here for the first time, this fundamental work on the development of tonality shows his complete mastery of the theory of harmony. In it Dahlhaus explains the modern concepts of harmony and tonality, reviewing in the process the important theories of Rameau, Sechter, Ftis, Riemann, and Schenker. He …
Scanning the Dial
Given brief excerpts of commercially recorded music in one of ten broad genres of music, participants in this study were asked to evaluate each excerpt and to assign it to one of the ten genre labels. It was expected that participants would be good at this task, since they were the very consumers for whom much of this music had been created. But the speed at which participants could perform this task, including above-chance categorizations of exc…
The Analysis and Cognition of Melodic Complexity
In this work, Eugene Narmour continues to develop the unique theories of musical perception and cognition first set forth in The Analysis and Cognition of Basic Melodic Structures. The two books together constitute the first comprehensive theory of melody founded on psychological research. Narmour explains the cognitive operations by which listeners assimilate and ultimately encode complex melodic structures, and goes on to show how sixteen melod…
Child Composers in the Old Conservatories
The original music conservatories were orphanages. Through innovative teaching methods the masters of these old institutions were able to transform poor and often illiterate castoffs into elite musicians, many of whom became famous in the history of classical music. The book tells the story of how this was done. It shows what the lessons were like, what a typical day was like for an orphan, and how children progressed from simple lessons to ones …
Schema Theory as a Construction Grammar
Construction grammar, recently described as "the fastest growing linguistic and interdisciplinary approach to language" (Goldberg 2013, 30) has its foundations in the psychology of human categorization and other general cognitive abilities. So does schema theory in music. In the first extended comparison of these research programs, we present six central principles of construction grammar and demonstrate their relevance and applicability to schem…
Historically Informed” Corpus Studies
Musicians can choose between various “historicist” or “presentist” ways of performing works from the past. Music scholars who study early music sometimes are forced to make similar choices. If one thinks of corpus studies in music as an objective form of counting the “elements of music,” the question of what constitutes an “element” can involve similar historicist/presentist dilemmas. The article examines three historically significant characteri…
Mozart'sObviouslyCorruptMinuet
The Romantic and Modern reception and reinterpretation of eighteenth-century music stretches over a period much longer than that of the eighteenth century itself, in the process forming its own authenticity and norms. Modern editors of eighteenth-century music must occasionally grapple with musical texts which appear to violate either the earlier or later standards. A minuet whose text seemed 'obviously corrupt' to the official editors of Mozart'…
A Classic Turn of Phrase
Studies on the Origin of Harmonic Tonality
Carl Dahlhaus was without doubt the premier musicologist of the postwar generation, a giant whose recent death was mourned the world over. Translated here for the first time, this fundamental work on the development of tonality shows his complete mastery of the theory of harmony. In it Dahlhaus explains the modern concepts of harmony and tonality, reviewing in the process the important theories of Rameau, Sechter, Ftis, Riemann, and Schenker. He …
A Classic Turn of Phrase
On the Origins of Harmonic Tonality
The Analysis and Cognition of Melodic Complexity
In this work, Eugene Narmour continues to develop the unique theories of musical perception and cognition first set forth in The Analysis and Cognition of Basic Melodic Structures. The two books together constitute the first comprehensive theory of melody founded on psychological research. Narmour explains the cognitive operations by which listeners assimilate and ultimately encode complex melodic structures, and goes on to show how sixteen melod…
Summary And Cadenza
a European n expert on the music of the Beatles, Tuomas Eerola, made a careful study of their experimental style. He compared the distribution over time of Beatles recordings that feature Indian instruments, tape manipulations, psychedelic or nostalgic lyrics, modal scales, changing meters, and so forth with the distribution over time of the Meyer, as reported in my A Classic Turn of Phrase.1 A graph of his comparison is shown below, with the muc…
An Andantino by Baldassare Galuppi
the tea m of Goldoni and Gallup once dominated musical comedy in the eighteenth century as Gilbert and Sullivan would later in the nineteenth. Carlo Goldoni wrote the words and Gallup the music for their La diavolessa (“The She-Devil”), a spoof on upper-class posturing and lower-class avarice. In the following text, Goldoni has Dorian, the gold-digging ingénue, sing in Venetian dialect to Don Poppone, an elderly gentleman, a scene typical of comm…
The Ponte
according to Repel, the Italian word Monte meant “a mountain to climb up onto,” font meant “a well to climb down into,” and Ponte meant “a bridge to cross over.”1 I have already discussed the rising pattern of the Monte in chapter 7 and the descending pattern of the font in chapter 4. Here I will discuss Riesel’s several interpretations of the “bridge” created by the Ponte.
The Indugio
court musicia ns in centra l europe wrote several major treatises during the 1750s and early 1760s. Those of Repel (1752, 1755, 1757, 1765) are still significant for their descriptions of compositional practice.1 The flute treatise of Quants (1752), the keyboard treatises of C. P. E. Bach (1753, 1762), and the violin treatise of Leopold Mozart (1756) are important for detailing performance practice.2 And the thoroughbass treatise of Johann Friedr…
Partimenti
Subject Baroque Music Collection: Oxford Scholarship Online
A Theme and Variations by Joseph Haydn
as chapel m aster to the Prince of Esterhazy in western Hungary, Haydn served a provincial court where the gallant style of music was clearly preferred. Some of his instrumental music was intended to be performed by the amateur musicians among the local aristocrats, the most important of whom was Haydn’s patron, the prince. The necessity of keeping this music within the technical grasp of amateurs sometimes prevented Haydn from exploiting the ful…
An Allegro by Wolfgang Amadeus Mozart
“for beginners” (furan finger) was a phrase once attached to the sonata KV545, though few beginners play it well. The subtitle does, nevertheless, hint at the infantilizeton of gallant music by later generations. Mozart’s Allegro, which by gallant standards was a remarkably sophisticated and advanced composition, seemed childishly simple to Romantic pianists more accustomed to the physically demanding works of Schumann, Liszt, or Rubenstein. No l…
A Larghetto by Leonardo Leo
the words came first in gala toper a. To an expert on early eighteenthcentury music, that is obvious. Yet since relatively few readers of this volume may have that expertise, permit me to continue with a series of similar statements that, while obvious to a few, are yet worth repeating given the long reign of opera serial as the absolute ruler of the gallant musical world.
The Fenaroli
two of the early Neapolitan n m asters of the gallants le, Francesco Durante and Leonardo Leo, were viewed by later generations of Italian musicians as having established important artistic lineages. Conservatory lore in Naples described two camps— the Durantisti and Leisti 1—with different approaches to the art of composition. Modern scholars, however, have found it difficult to substantiate this divide.2 Perhaps the relevant eighteenth-century …
An Allegro by Carl Ditters Von Dittersdorf
in size and scope, the Allegro from Dittersdorf’s sixth string quintet far surpasses the movements presented in previous chapters. More notes are played in its first eight bars than in all of the Somas minuet in chapter 5. Yet Dittersdorf’s writing is still largely grounded in the Italian gallant. It was his “mother tongue,” taught to him from about age twelve by Giuseppe Bonn (1711–1788), who had been sent to Naples by Charles VI to study with D…
Schema Prototypes
Subject Baroque Music Collection: Oxford Scholarship Online
The Prinner
gallant society valued polite y et playful conversation. In the skillful turn-taking that animated courtly banter, the ability to come up with an elegant riposte was at least as important as the ability to lead off. The slyest, most teasingly ambiguous opening gambit could fall flat if no one found a riposte to counter it. The chosen riposte could be effective even if it were conventional—perhaps an old saying or proverb—as long as it was employe…
The Meyer along with notes on the Jupiter, Pastorella, and Aprile
Giacomo Tritto bega n his Scuola di contrappunto [The School of Counterpoint] by citing his pedigree.1 He had studied “under the direction of the renowned maestro Signore Pasquale Camaro, who was a student of the celebrated Signore Leonardo Leo.” This pedigree, which was impeccable by eighteenth-century standards, meant that he had received a pure form of the largely oral tradition of instruction. Indeed, Triton’s own book contains more pages of …
Il Filo a poco adagio by Joseph Haydn
like Gallup’s famous ha marks of musical l excellence, “beauty, clarity, and fine modulation” (“vaghezza, chiarezza, e buona modulazione”),1 Leopold Mozart’s hallmarks of a master composer, “good technical composition and the arrangement of material: il filo” (“der guests, und die Droning, il filo”),2 can be difficult to translate into the language of our time. I, for instance, read Leopold as describing two concepts, with the second named in bot…
The Quiescenza
the Noseda collection of the Mila n Conservatory contains a large two-volume manuscript in which several different hands have copied hundreds of pertinent by Signorelli. The second of these volumes lists a number of rules of thumb (regole) for the student, and two of them pertain to pedal points on the keynote of the mode. The first rule is that “the pedal is formed from the chords of the fundamental bass.”1 The pertinent written below the rule m…
The Sol-Fa-Mi
a French m a unscripted from Dijon contains a setting by Gallup of Confitibor tibi Domine (Psalm 111, known in English as “I will praise the Lord with all my heart”).1 Gallup’s sacred music is every bit as graceful as his secular music, and full of elegant details. Two versions of the music that opens this motet are shown below. The first version is from the soprano’s initial entrance and features a melodic Sol-Fa-Mi linked to a Long cadence that…
The Fonte
Joseph Repel (1709–1782), surely one of the most colorful, prolix, and revealing eighteenth-century writers on music, was chapel master to the wealthy Prince of Thorn and Taxis at Regensburg.1 For Repel, certain galant schemata had so palpable a presence as to have their own names. In his fictional student-teacher dialogues (1752–65), Repel has the teacher introduce three schemata—the Fonte, the Monte, and the Ponte—that are so important he implo…
The Child Mozart
the earliest compositions of Wolfgang A m a dues Moa rt (1756–1791) reflect both the private and the public faces of the Mozart family. Some of them resemble individual leaves in a childhood album—an internal family record of the boy’s musical growth, complete with music-grammatical errors and awkward expressions. Others suggest the transcription of a studied musical performance—a written documentation of the boy’s precocity and professionalism i…
Clausulae
the Latin term chosen by medieval l writers to describe the perceived sense of closure and finality brought about by certain melodic figures was clausal (pl. clausulae; a close, conclusion, or end).1 In time, this sense was transferred to formulae involving two contrapuntal voices, and then much later to formulaic successions of multivehicle chords. The example below shows a four-voice formula that Johann Gottfried Walther (1684–1748), organist a…
A Model Adagio by Johann Joachim Quantz
three of the k eys to success at an eighteenth-century court were held by Johann Joachim Quants (1697–1773). He was a highly talented performer (on the flute primarily), he composed music that delighted his aristocratic audiences (in Dresden first, and later in Berlin), and he learned how to please powerful princes (the Elector of Saxony and, most importantly, Frederick the Great, King of Prussia). As simultaneously “composer for the royal court,…
The Do-Re-Mi
the “rising figures” described in the discussion of Solis’s minuet (chap. 5) were each part of a Do-Re-Mi schema.1 The French violinist Jean-Marie Éclair (1697–1764), a famous pupil of Somas, knew all forms of the Do-Re-Mi common in the early 1720s and presented them in his first set of sonatas. Here is his version of the basic type, with do–re–mi (0–@–@) in the melody and do–si–do (CD–®–CD) in the bass
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