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Improvised and Written Canons in Eighteenth-Century Neapolitan Conservatories
Örebro University, School of Music, Theatre and Art. Norwegian Academy of Music, Oslo, Norway.ORCID iD: 0000-0002-0931-6170
2018 (English)In: Journal of the Alamire Foundation, ISSN 2032-5371, Vol. 10, no 1, p. 133-146Article in journal (Refereed) Published
Place, publisher, year, edition, pages
Turnhout: Brepols, 2018. Vol. 10, no 1, p. 133-146
Keywords [en]
improvisation, canon, partimento
National Category
Musicology
Research subject
Musicology
Identifiers
URN: urn:nbn:se:oru:diva-92104DOI: 10.1484/J.JAF.5.116042OAI: oai:DiVA.org:oru-92104DiVA, id: diva2:1559502
Note

According to the current understanding of the curriculum at the Neapolitan conservatories, students were taught composition primarily through partimento-playing and through written studies in counterpoint. However, singing instruction was equally fundamental as keyboard playing. In this essay I highlight the importance of sung canoni (or canon solfeggi) in the lessons of Nicola Sala (1713-1801), at the Conservatorio della Pietà de Turchini. With such improvised canons, students were systematically prepared for composing written counterpoint, including the final stretto of the fugue, in which canon technique was applied.

Available from: 2021-06-02 Created: 2021-06-02 Last updated: 2023-01-02Bibliographically approved

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van Tour, Peter

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  • apa
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