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{{History of Western art music}}
In music, '''Galant''' refers to the style which was fashionable from the 1720s to the 1770s. This movement featured a return to simplicity and immediacy of appeal after the complexity of the late [[Baroque music|Baroque]] era. This meant simpler, more song-like melodies, decreased use of [[polyphony]], short, periodic phrases, a reduced harmonic vocabulary emphasizing tonic and dominant, and a clear distinction between soloist and accompaniment. C. P. E. Bach and Daniel Gottleib Türk, who were among the most significant theorists of the last 18th century, contrasted the galant with the "learned" or "strict" styles. The German ''[[Empfindsamer Stil]]'' can be seen as overlapping with or partially synonymous with the galant style.
This musical style was part of the wider [[galant]] movement in art at the time.
[[File:1698 Campra L'Europe Galante.jpg|thumb|upright=1.5|left|[[André Campra]], ''L'Europe galante'' 2nd edition (1698)]]
As early as 1721, the German theorist [[Johann Mattheson]] recognized a modern style, ''einem galanten Stylo'' and named among its leading practitioners [[Giovanni Bononcini]], [[Antonio Caldara]], [[Georg Philipp Telemann]] and operatic composers we might consider baroque: [[Alessandro Scarlatti]], [[Antonio Vivaldi]] and [[George Frideric Handel]] (Heartz 2003,{{Pn|date=April 2013}}). All were composing Italian ''[[opera seria]]'', a voice-driven musical style, and opera remained the central form of galante music. The new music was not as essentially a court music as it was a city music: the cities emphasized by Daniel Heartz, a recent historian of the style, were first of all [[Naples]], then [[Venice]], [[Dresden]], [[Berlin]], [[Stuttgart]] and [[Mannheim]], and [[Paris]]. Many galante composers spent their careers in less central cities, ones that may be considered consumers rather than producers of the ''style galante'': [[Johann Christian Bach]] and [[Carl Friedrich Abel]] in London, [[Giovanni Paisiello]] in [[St Petersburg]], [[Georg Philipp Telemann]] in Hamburg and [[Luigi Boccherini]], quite isolated, in [[Madrid]]. ▼
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The rejection of so much accumulated learning and formula in music is paralleled only by the rejection in the early 20th century of the entire structure of [[key relationship]]s. Not every contemporary was delighted with this revolutionary simplification: Johann Samuel Petri, in his ''Anleitung zur Praktischen Musik'' (1782) spoke of the "great catastrophe in music" (Blume 1970).
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