A historical understanding of national styles and methods helps the keyboardist acquire good taste for improvisation. The long note values and improvisatory passages in the strings require more than a simple chordal realization. 1 and 2, demands that keyboard players improvise on the bass line. The performance of the slow sections of Buxtehude’s Trio Sonatas, Op. The study of compositional exercises such as Corso di Contrappunto are valuable in enabling new perspectives on early nineteenth-century Italian pedagogic traditions and compositional praxis, and it highlights aspects that have not been considered before, including the confrontation between the survival of this legacy and the influence of Bellini on the compositional activities, which stimulates further interest in this topic to become a major field in musicological research. In fact, this manuscript testifies that these methods have not declined or are dead but are very much alive and still present in the training curriculum of early nineteenth-century Italian operatic composers.This study fully describes and analyses a manuscript document for the first time, which attests to the importance of the partimento’s patterns and the predominance of the counterpoint, the art of diminution, and the study of canons and fugues in the first half of the nineteenth-century Italian musical training.
The examination of this unpublished counterpoint course aims to investigate a new manuscript that is a source of evidence in support of still-alive and revered pedagogical traditions under which Italian composers were trained, in contrast to the innovative developments taking place elsewhere. The contribution of this research lies in the exploration of the legacy of Italian traditional compositional theory and practice in early nineteenth-century Italy through a survey of uncovered and previously unanalysed rare primary source, dated 1891, attributed to the student years of the opera composer Vincenzo Bellini, the Corso di Contrappunto (Counterpoint Course). The available surviving manuscript sources, such as student notebooks, sketches, counterpoint exercises, canons, and fugues, and partimento’s source could provide crucial insights. However, there are still significant gaps in the literature and debates related to the solid legacy or the relevant changes and decline of these pedagogic traditions of the nineteenth-century compositional training.
The role of Partimento and Italian teaching methods in the eighteenth century has been the subject of several important studies.
0 kommentar(er)
