...Giorgio Sanguinetti A partimento is a linear guide for the improvisation of a keyboard piece. Partimenti were developed for the training of composers in the conservatories of Naples during the eighteenth century. They contain all the information needed for the realization of complete pieces...

... with bass accompaniment. Partimenti were instructional basses from which an apprentice was expected to re-create complete compositions at the keyboard. The prodigious mental powers developed through the study of partimenti, which greatly facilitated improvisation and composition, gave a competitive...

... for keyboard. It turns out that the subject of this fugue is so marked in rhythm and contour that it seems to motivate—and even demand—its own transformation as the fugue unfolds. One consequence of such transformation is a series of metric shifts from triple hypermeter during expositions to duple hypermeter...

... of the piece or reset the durational clocks of the piece for proper cadential closure. Examples range from Handel’s keyboard suites and Concerti Grossi, op. 6, as well as Bach’s English Suites, to Couperin’s B-minor Passacaille and Brahms’s Capriccio, op. 76/2. Metrical Displacement and Metrically Dissonant...

... .” Journal of Music Theory 11 , no. 1 : 32 – 59 . Kieslar Douglas . 1987 . “ History and Principles of Microtonal Keyboards .” Computer Music Journal 11 , no. 1 : 18 – 28 . Magnusson Thor . 2009 . “ Of Epistemic Tools: Musical Instruments as Cognitive Extensions .” Organized...

... 1). But why does Wilson use only eleven keys for these songs instead of the twenty-four keys of his lute fantasias? The songbooks more restricted range reflects several influences. First, Wilson limited himself to keys that were playable on mid- century keyboard instruments, which were tuned...

... and keyboard, would work cooperatively in building a musical memory that, a few years later, would allow students to speak the “language” of adults and compose quickly. The core of the book is divided into four parts and develops all these aspects: 1) Children in Need ; 2) Technologies of Training ; 3...

... . “ Worries about OOO and Politics .” Larval Subjects (blog) , May 29 . larval-subjects.wordpress.com/2012/05/29/worries-about-ooo-and-politics . Dolan Emily . 2012 . “ Toward a Musicology of Interfaces .” Keyboard Perspectives 5 : 5 – 12 . Galloway Alexander . 2015...

..., partitas, and overtures): for orchestra, flute and con- tinuo, keyboard (or lute), solo cello, and solo violin. This is a sizable body of music, encompassing 44 multimovement works and including some of Bach’s best-known instrumental pieces. It should be noted, though, that Beach examines...

... 141 Example 1. From Gluck, Orfeo ed Euridice, act II, scene 1: Orpheus placates the Furies passage at the keyboard under his guidance, the aging Rousseau offered one final reflection on the old battles and the chief preoccupations of music theory of his...

... staves, on pages of correspondingly broad dimensions, makes clear that the notation is intended not merely as a study score but as a performing edition that can conveniently be read and executed at the keyboard.3 Larson should be commended for having per...

... Greenberg Of Beginnings and Ends 179 pendently of each other as the result of what James Webster (1982, 127) has described as “the growth of a feeling for the double return.” 3. Only pieces for chamber ensembles or for solo keyboard are included, with an eye to reducing...

... University Press. Milne, Andrew, William Sethares, and James Plamondon. 2008 . “Tuning Continua and Keyboard Layouts.” Journal of Mathematics and Music 2 / 1 : 1 –19. Oettingen, Arthur von. 1866 . Harmoniesystem in dualer Entwickelung: Studien zur Theorie der Musik . Dorpat: Gläser. Smith...

... limitations—a phrase is frequently considered what could be sung in a single breath, even when it is part of a keyboard work. It may be a cliche to point it out, but the basic method for teaching tonal harmonic understanding is through voice leading. And while this concept becomes abstract in a vast...

... Studies , ed. David Brodbeck, 111 –38. Lincoln: University of Nebraska Press. Davis, Shelley. 1980 . “J. G. Lang and the Early Classical Keyboard Concerto.” Musical Quarterly 66 : 45 –61. ______. 1983 . “H. C. Koch, the Classical Concerto, and the Sonata-Form Retransition.” Journal...

... documentation is available on a companion website (note: the last character in the required username is the digit “1,” not the letter “i “Partimenti” in the eighteenth-century sense were not keyboard accompaniments but self-standing pieces, whereas a “thorough...

... was, and sit in with the band play- ing guitar, keyboards, or bass. 4 He then sketched a number of helpful solu- tions, some of which he implemented at his own institution. For example, in the first-term course he spent three weeks playing and analyzing music that included only root position diatonic triads...

... differently had the “mute” tradition of the partimento been given a theoretical voice. A toccata follows by Giorgio Sanguinetti. As both a gifted keyboard performer and a skilled archival researcher, he is able to show how the “potential” music of a partimento can be coaxed into an artistic...

... in Paris distinguishes it from the Italian partimento pedagogy, which focused on practical training by the keyboard, including improvisation. This change in emphasis was not a drastic rupture: eighteenth-century Italian students had to do written exercises, and their nineteenth-century French...

..., tuning forks, concert pitch, keyboard and violin technique, harmony instruction, musical instruments themselves) had to overcome resistance from various quarters through mechanical and commercial ingenuity. This comes closer to the narrative we have perhaps come to expect from a century marked...