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. Italian fugal thinking reveals itself as an alternative to the (today still dominant) German tradition focused on the work of J.S. Bach.

Sanguinetti, G. (2010). Partimento-fugue : the neapolitan angle. In D. Moelants (a cura di), Partimento and Continuo Playing in Theory and Practice (pp. 71-111). Leuven : Leuven University Press.

Partimento-fugue : the neapolitan angle

SANGUINETTI, GIORGIO
2010-10-01

Abstract

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. Italian fugal thinking reveals itself as an alternative to the (today still dominant) German tradition focused on the work of J.S. Bach.
ott-2010
Settore L-ART/07 - MUSICOLOGIA E STORIA DELLA MUSICA
English
Rilevanza internazionale
Capitolo o saggio
Fugue; counterpoint; partimento ; improvisation; Bach; Naples
Sanguinetti, G. (2010). Partimento-fugue : the neapolitan angle. In D. Moelants (a cura di), Partimento and Continuo Playing in Theory and Practice (pp. 71-111). Leuven : Leuven University Press.
Sanguinetti, G
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/2108/25387
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