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Partimento and incomplete notations in eighteenth-century keyboard music
, 2017Discusses some cases in eighteenth century keyboard music where the notation is incomplete, and how a modern performer might "realize" the clues in the score.
G. Sanguinetti
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Notes, 2016
Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples. By Peter van Tour. (Acta Universitatis Upsaliensis; Studia Musicologica Upsaliensia, no. 25.) Uppsala: Uppsala Universitet, 2015. [318 p. ISBN 9789155491970.
J. Slominski
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Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples. By Peter van Tour. (Acta Universitatis Upsaliensis; Studia Musicologica Upsaliensia, no. 25.) Uppsala: Uppsala Universitet, 2015. [318 p. ISBN 9789155491970.
J. Slominski
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Music Theory and Analysis (MTA), 2021
The partimento tradition of eighteenth-century Italy developed within a musical culture that prioritized oral pedagogy. While these teaching methods were successful in producing generations of great composers, they have left scholars with vexing ...
Sean Curtice, Lydia Carlisi
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The partimento tradition of eighteenth-century Italy developed within a musical culture that prioritized oral pedagogy. While these teaching methods were successful in producing generations of great composers, they have left scholars with vexing ...
Sean Curtice, Lydia Carlisi
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Partimento and Continuo Playing in Theory and in Practice
, 2010D. Moelants
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2023
Abstract This chapter provides a large collection of partimenti for practice. Composers represented include Fedele Fenaroli, Francesco Durante, Giacomo Insanguine, Nicola Sala, and Carlo Cotumacci. Readers are to study each partimento, apply the principles of “recognize, realize, stylize,” and play the partimento at the keyboard.
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Abstract This chapter provides a large collection of partimenti for practice. Composers represented include Fedele Fenaroli, Francesco Durante, Giacomo Insanguine, Nicola Sala, and Carlo Cotumacci. Readers are to study each partimento, apply the principles of “recognize, realize, stylize,” and play the partimento at the keyboard.
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2010
Fugue was the highest goal in partimento training: all ordered partimento collection invariabily end with a series of fugues. This paper offers a first glimpse into the variegated tipology of fugal practice used in eighteenth century Nepolitan conservatories.
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Fugue was the highest goal in partimento training: all ordered partimento collection invariabily end with a series of fugues. This paper offers a first glimpse into the variegated tipology of fugal practice used in eighteenth century Nepolitan conservatories.
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The Early Reception of Neapolitan Partimento Theory in France
Journal of Music Theory, 2007The tradition of the Neapolitan school of composition (in which the partimento and its teaching techniques played a significant role) had a major influence on musical training in Paris from the second half of the eighteenth century through the first half of the nineteenth century.
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