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From Naples to Paris / Chapter 3 The teaching of “harmonie” and “accompagnement” at the Conservatoire between 1795 and 1840
From Naples to Paris / Chapter 3 The teaching of “harmonie” and “accompagnement” at the Conservatoire between 1795 and 1840
Contents
Chapter
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Page
1–4
Titelei/Inhaltsverzeichnis
1–4
Details
5–10
Acknowledgements
5–10
Details
11–20
Introduction
11–20
Details
State of the Art
Methodological and terminological considerations
Outline of the book
21–22
Abbreviations and symbols
21–22
Details
23–48
Chapter 1 Founding the Conservatoire: creating a French national school of music and pursuing the ideal model of the Neapolitan Conservatori
23–48
Details
1.1. The pre-revolutionary period
1.2. From Naples to Paris: traces of the Neapolitan school and Neapolitan-trained musicians in Paris at the turn of the nineteenth century
1.3. The creation of the Conservatoire in imitation of the écoles d’italie
1.4. Didactical organization at the Conservatoire
1.5. Mastricelli and Répétiteurs: the Enseignement mutuel between Naples and Paris
49–96
Chapter 2 An overview of the teaching material used for “harmonie” and “accompagnement” at the Conservatoire between 1795 and 1840
49–96
Details
2.1. The Méthodes du Conservatoire
2.2. The Traité d’harmonie of Catel (Professor of harmonie between 1795 and 1816)
2.3. The French editions of Fenaroli’s partimenti
2.4. The work of Berton (Professor of harmonie and accompagnement from 1795 to 1815)
2.5. Perne’s Cours élémentaire d’harmonie et d’accompagnement
2.6. Victor Dourlen’s Traité d’harmonie and Traité d’accompagnement
2.7. Colet’s Panharmonie Musicale and Partimenti
2.8. Bienaimé’s École de l’harmonie moderne
97–130
Chapter 3 The teaching of “harmonie” and “accompagnement” at the Conservatoire between 1795 and 1840
97–130
Details
3.1. Reconstruction of a course of harmonie
3.2. Reconstruction of a syllabus of accompagnement
Lesson n. 1: Positions of the Right Hand
Lesson n. 2: The perfect triad and its inversions
Lesson n. 3: Dissonant chords
Lesson n. 4: Règle ordinaire de l’octave
3.3. Conservatoire vs Conservatori: a comparison of teaching in Paris and Naples
131–208
Chapter 4 The Regole and other elements of improvisation and composition in French sources
131–208
Details
4.1. Basic axioms
4.1.1. Classification of intervals
4.1.2. Consonant and dissonant intervals. The case of the fourth, the diminished fifth, and the minor seventh
4.1.3. Posizione
4.1.4. Voice leading
4.1.5. Cadences
4.2. The rule of the octave
4.3. Dissonanze
4.3.1. The fourth
4.3.2. The seventh
4.3.3. The ninth
4.3.4. The second
4.4. Moti del basso
4.4.1. Partimento che sale di grado
4.4.2. Partimento che sale di semitono
4.4.3. Partimento che scende di grado
4.4.4. Partimento che scende legato
4.4.5. Partimento che scende di semitono
4.4.6. Partimento che sale di terza e scende di grado
4.4.7. Partimento che scende di terza e sale di grado
4.4.8. Partimento che sale di quarta e scende di terza
4.4.9. Partimento che scende di quarta e sale di grado
4.4.10. Partimento che sale di quinta e scende di quarta
4.4.11. Partimento che sale di quarta e scende di quinta
209–240
Chapter 5 French realizations of Partimenti
209–240
Details
5.1. Diminuzioni and imitazioni
5.2. The beste Lage
5.3. French realizations
241–248
Conclusions
241–248
Details
249–266
Bibliography
249–266
Details
1. Primary sources
1.1. Manuscripts
1.2. Printed sources
1.3. Archival sources
2. Secondary sources
3. Web sources
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From Naples to Paris , page 97 - 130
Chapter 3 The teaching of “harmonie” and “accompagnement” at the Conservatoire between 1795 and 1840
Autoren
Lydia Carlisi
DOI
doi.org/10.5771/9783487423654-97
ISBN print: 978-3-487-16440-3
ISBN online: 978-3-487-42365-4
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