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The Early Reception of Neapolitan Partimento Theory in France
Journal of Music Theory, 2007 The 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.
Rosa Cafiero
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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.
Johnandrew Slominski
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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.
exaly +2 more sources
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.
exaly +2 more sources
The art of partimento: history, theory, and practice
Choice Reviews Online, 2012 At the height of the Enlightenment, four conservatories in Naples stood at the center of European composition. Maestros taught their students to compose with unprecedented swiftness and elegance using the partimento, an instructional tool derived from the basso continuo that encouraged improvisation as the path to musical fluency. Although the practice
G Sanguinetti
+6 more sources
2020
The chapter outlines the way solmization has been described as a “vocal” system at odds with the “keyboard” system of figured bass (partimento). It investigates the relation between melody and bass in solfeggio, especially in terms of imitative counterpoint, and proposes a synthesis between them. It surveys the historical evidence for solmizing figured
exaly +2 more sources
The chapter outlines the way solmization has been described as a “vocal” system at odds with the “keyboard” system of figured bass (partimento). It investigates the relation between melody and bass in solfeggio, especially in terms of imitative counterpoint, and proposes a synthesis between them. It surveys the historical evidence for solmizing figured
exaly +2 more sources