Studi Pergolesiani- Pergolesi Studies

by Fondazione Pergolesi Spontini (Editor), Claudio Bacciagaluppi (Editor), Marilena Laterza (Editor)

Overview

For decades now, scholars of music theory have firmly established the supranational importance of the pedagogical tradition that flourished in the Neapolitan conservatories from the 17th to the 19th century. Beyond its potential in today’s teaching practice, many questions remain open about the didactic tools peculiar to this tradition. As is well known, Neapolitan maestri did not produce theoretical treatises, but drafted short exercises such as partimenti and solfeggi to be realized extempore, which were at the core of their composition teaching. But what about the mechanisms of creation and transmission of these tools? And to what extent were Neapolitan methods imitated or adapted across Europe? This volume brings together contributions from an international conference (Milan - Bern, 2017) addressing these issues.

Product Details

ISBN-13:	9783034330770
Publisher:	Peter Lang AG, Internationaler Verlag der Wissenschaften
Publication date:	07/16/2021
Series:	Studi Pergolesiani / Pergolesi Studies , #11
Pages:	370
Product dimensions:	5.91(w) x 8.74(h) x (d)

About the Author

Claudio Bacciagaluppi (D.Phil. 2008 in Fribourg) works for the RISM Digital Center and for the Hochschule der Künste Bern. His research focusses on Baroque sacred music in Switzerland and in Naples, as well as on teaching and performing music in the nineteenth century.

Marilena Laterza trained both as a musician (Piano Diploma in 2006) and as a musicologist (MA in 2010, Phd in 2015). She has carried out research at the University of Milan for several years and currently teaches in Italian conservatories. She has published on eighteenth-century and contemporary music with a mainly analytical approach.

Table of Contents

Claudio Bacciagaluppi, Marilena Laterza: Introduzione

Programma del Convegno internazionale di studi La didattica musicale a Napoli nel Settecento: la teoria, le fonti, la ricezione

Giorgio Sanguinetti: La ‘cadenza Stabat’: viaggio di uno stilema settecentesco

Markus Neuwirth: Is There an Implicit Formenlehre in Fedele Fenaroli’s Solfeggi? Punctuation Schemes, Formal Functions, and Voice-Leading Schemata

Roberto Scoccimarro: Solfeggio e aria nella prima metà del Settecento: note su aspetti di natura

formale e stilistica

Nicholas Baragwanath: Porpora’s Page, Traits of Vocalisation, and the Art of Improvised Melody

Rosa Cafiero: Muscogiuri! Chi era costui? Apprendistato «secondo la scuola vera di Durante» (febbraio 1781-novembre 1782)

Peter van Tour: Some Reflections about ‘il Metodo di Cotumacci’

Paolo Sullo: "Terminazione" versus "Uscita di Tono"

Johannes Menke: German Partimento Reception and Generalbass Conceptions in the Nineteenth Century, Illustrated by the Example of Siegfried Dehn and Richard Wagner

Claire Roberts: Traces of Integrative Methods of Aural Skill Training in the Teachings of Niccolò Zingarelli

Lydia Carlisi: The Canone Armonico and Fifty Ways of Harmonizing a Scale in Gaspare Selvaggi’s Trattato di armonia (1823)

Sean Curtice: Luigi Cherubini and the Partimento Tradition of the Paris Conservatoire

Giulia Giovani: La biblioteca del Conservatoire di Parigi e le fonti napoletane

Martin Skamletz: Eine frühe französische Abschrift von Nicola Salas Regole del contrappunto pratico

Nathalie Meidhof: Alexandre Étienne Choron’s Adaption of Nicola Sala’s Regole del contrappunto pratico as Contribution to the Cultural Transfer between Naples and Paris