Partimento and Continuo Playing in Theory and in Practice

Thomas Christensen

ISBN 10: 9058678288 / ISBN 13: 9789058678287

Published by Leuven University Press Jun 2010, 2010

About this Item

Neuware - 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.

Seller Inventory # 9789058678287

Bibliographic Details

• Title: Partimento and Continuo Playing in Theory and in Practice
• Publisher: Leuven University Press Jun 2010
• Publication Date: 2010
• Language: English
• ISBN 10: 9058678288
• ISBN 13: 9789058678287
• Binding: Taschenbuch
• Condition: Neu
• Dimensions: 234W x 159H x 9D millimeters 234 millimeters width by 159 millimeters height by 9 millimeters depth
• Weight: 224 grams

About this title

Synopsis

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.

About the Author

Dirk Moelants is Assistant and Lecturer of Music Theory and Ethnomusicology at the Department of Musicology of Universiteit Gent.