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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.
Inhaltsverzeichnis
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
Über den Autor / die Autorin
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.
