The Domestic Phenomenon of the Eighteenth Century Over the centuries, gender and musical instruments have been a topic of tremendous discourse. One of the earliest examples of this discussion can be found in The Courtier’s Book by Baldassare Castiglione: “and thus in dancing I would not see her use too active and violent movements, nor in singing or playing those abrupt and oft-repeated diminutions which show more skill than sweetness; likewise, the musical instruments that she uses ought, in my opinion, to be appropriate to this intent. Imagine how unlovely it would be to see a woman play drums, fifes or trumpets or other like instruments; and this because of their harshness hides and destroys that mild gentleness which so adorns every act a woman does.”1 These words are a true reflection of the times they were written in (1528), right through to the eighteenth century. The instrument deemed appropriate for women of the eighteenth century was the pianoforte. In the early 1700s, the Italian harpsichord inventor Bartolomeo Cristofori wanted to create an instrument that would have superior finger response and sound. He called the instrument the gravicembalo col piano e forte (harpsichord that plays soft and loud). Cristofori replaced the plectra (which plucked the strings of a harpsichord) with felt tipped wooden hammers, which strike the strings according to the pressure given by the player. This made the instrument more versatile by enabling the instrument to produce more sounds and dynamic variations. In 1768, Johann Christian Bach played the first public performance on the pianoforte. During this time, the pianoforte became more popular for both singers and, due to the advancements (such as pedals and hammers), within the female domestic scene. Women’s musical accomplishments reflected a family’s gentility. They demonstrated that the family had the time for leisure activities and that they could afford an instrument, along with private lessons. Keyboard instruments, such as the pianoforte, were the most suitable for eighteenth-century ladies. English dance choreographer John Essex declared in 1721 that “the harpsichord, spinet, lute and base violin, are instruments most agreeable to the Ladies: There are some others [that] are unbecoming the Fair Sex; as the Flute, Violin and Hautboy; the last of which is took Manlike and would look indecent in a Woman’s Mouth; and the flute is very improper, as taking away too much of the Juices, which are otherwise more necessarily employ[e]d, to promote the Appetite, ad assist Digestion.”2 In this instance the term ‘juices’ refers to
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