Regras de Acompanhar by David Perez. A Critical Edition
Lade...
Autor:innen
Autor:in (Körperschaft)
Publikationsdatum
04.04.2022
Typ der Arbeit
Master
Studiengang
Typ
11 - Studentische Arbeit
Herausgeber:innen
Herausgeber:in (Körperschaft)
Betreuer:in
Übergeordnetes Werk
Themenheft
DOI der Originalpublikation
Link
Reihe / Serie
Reihennummer
Jahrgang / Band
Ausgabe / Nummer
Seiten / Dauer
Patentnummer
Verlag / Herausgebende Institution
Hochschule für Musik Basel FHNW, Schola Cantorum Basiliensis
Verlagsort / Veranstaltungsort
Basel
Auflage
Version
Programmiersprache
Abtretungsempfänger:in
Praxispartner:in/Auftraggeber:in
Zusammenfassung
“It is not easy to tell exactly what a partimento is. It is a basso continuo or
thoroughbass, but one that does not accompany anything except itself. It is a figured
bass, but very often it has no figures at all. It is a bass, but can as well be a soprano, an
alto, or a tenor. Whether tenor, alto, or soprano, it is often the lowest voice, but
sometimes it can skip from one voice to another in the texture. It is written, but its goal
is improvisation. And, finally, it is an exercise perhaps the most efficient exercise in
composition ever devised-but also a form of art in its own right.”1
Partimenti realization is a fundamental practice for any musician specializing in baroque
performance. For a keyboard player, it is an essential basis to understand basso
continuo, counterpoint, composition, improvisation and a great pedagogical tool as well.
Even though nowadays it is known that partimento practice has its roots in Italy in the
eighteenth century, it was not brought back to life until the past decades. Unfortunately,
many sources which have an enormous pedagogical potential still remain unknown and
unedited.
David Perez was one of the most famous Italian composers of dramatic music in his
time and surely one of the most prestigious composers eradicated in Portugal. Born and
educated in Naples, he obviously carries the tradition of counterpoint and partimento,
which will led to an important production of partimento and solfeggio sources by him in
Portugal.
Regras de acompanhar, his collection of forty-one partimenti, is a rich example of the
partimenti tradition and praxis.
Several questions arise when approaching his partimenti source. In which context was it
used? What did the author intended as an outcome of those partimenti? How can one
use this source nowadays as a musical pedagogical tool?
Questions concerning the context of his book in Portugal, the style and several
realization possibilities will be discussed forward along with an edition of selected
partimenti.
Schlagwörter
Fachgebiet (DDC)
780 - Musik
Veranstaltung
Startdatum der Ausstellung
Enddatum der Ausstellung
Startdatum der Konferenz
Enddatum der Konferenz
Datum der letzten Prüfung
ISBN
ISSN
Sprache
Englisch
Während FHNW Zugehörigkeit erstellt
Ja
Publikationsstatus
Begutachtung
Open Access-Status
Lizenz
Zitation
DE CASCÃO GOMES SALGADO, Rafaela Beatriz, 2022. Regras de Acompanhar by David Perez. A Critical Edition. Basel: Hochschule für Musik Basel FHNW, Schola Cantorum Basiliensis. Verfügbar unter: https://doi.org/10.26041/fhnw-4713