Discourse of gender characterization of the Galant style

The article was basically a discourse of North German Theorist's on the perceptions masculinity and femininity of musical Genres of the 18th century. The main topic in particular is the subject of the "effeminine" Galant style replacing the masculine baroque style of music. In terms of composition, the definition of "feminine... indicates a predominant tenderness and gentleness..., [it] stirs the heart more than the imagination, it is more gently moving than inspiring" (167). Masculine on the other hand "indicates the character of an art work that distinguishes itself by a bold 'elan' [Enthusiastic vigor and liveliness], through power and vigor in the presentation of feelings, and through their violent agitations"(167). [note that there were new 19th century perceptions of the definition]. The terms associated with the masculine and feminine were also used to describe the music pieces themselves. This characterization of music was due in part that the perception of music can be alluded to the characteristics of a human (160).

The masculine genres of the 18th century were the fugue, concerto, and symphony and the feminine styles being the minuet and the rondo form. The masculine fugue declined in popularity and the concerto and symphony started to exhibit "feminine" traits. The minuets and rondos were considered feminine in particular because of their feminine content (i.e. short easy melodies, nice harmony, etc.). The rondo was also considered feminine not only in content but in form, as the refrain resembled a circle which is a commonly attributed to the female (159-160).

The topic was mainly based on the perceptions of men and not women. By this I mean that masculine was defined as characteristics that a man should have while "effeminine" characteristics were defined as characteristics that a man doesn't have instead of traits of the female. Later on of course this perception changed.

Questions?
In what ways do the styles do the Galant Styles resemble the "effeminine" characteristics that North German Theorists mention?

Although content of a musical piece is considered important as in categorizing an musical piece or genre as "feminine" or "masculine", form is also an important matter. How is it that form can be attributed to a gender classification? What is a "feminine form" with a "masculine content" or vise versa? How is the bach concerto an example of this duality?