Partimento and Continuo Playing in Theory and in PracticeeBook - 2010
This volume reflects a multidisciplinary approach, with the accent on the interplay between music performance and music theory
This volume reflects a multidisciplinary approach, with the accent on the interplay between music performance and music theory. Thomas Christensen, in his contribution, shows how the development of tonal harmonic theory went hand in hand with the practice of thoroughbass. Both Robert Gjerdingen and Giorgio Sanguinetti focus on the Neapolitan tradition of partimento. Gjerdingen addresses the relation between the realization of partimenti and contrapuntal thinking, illustrated by examples of contrapuntal imitation and combination in partimenti, leading to the "partimentofugue." Sanguinetti elaborates on the history of this partimentofugue from the early eighteenth until the late nineteenth century. Rudolf Lutz, finally, presents his use of partimenti in educational practice, giving examples of how reviving this old practice can give new insights to composers, conductors, and musicians.
Christensen (music and the humanities, U. of Chicago) et al. present four essays based on lectures they gave at the Fourth International Orpheus Academy for Music Theory in 2006 on "Music Theory: Thoroughbass in Practice, Theory, and Improvisation." Essays address the interaction between music theory, music history, performance practice, aesthetics, and related sciences, particularly how the development of tonal harmonic theory accompanied the practice of thoroughbass; the Neapolitan tradition of partimento; the relation between the realization of partimenti and contrapuntal thinking. They also discuss the history of the partimento-fugue from the early eighteenth to the late nineteenth century, and the use of partimenti in educational practice and improvisational training. No index is provided. Distributed in the US by Cornell University Press. Annotation ©2011 Book News, Inc., Portland, OR (booknews.com)