Music scholar and pianist Gaetano Stella discusses the partimento tradition in the 19th century and his methods for teaching partimento in the classroom today. They also explore the historical development of counterpoint, the importance of cooperative learning and social connection, and the significance of having a real maestra in music education.
Phenaroli's method provides a pedagogical structure for teaching partimento with variations and emphasizes the importance of interpreting rules based on musical context.
In the 19th century, partimento transitioned from improvisation to a more written-out approach influenced by French treatises and organists' improvisation.
Italian music education has a cooperative learning approach, where students teach and learn from each other, fostering continuous development and social connections.
Deep dives
Teaching Partimento: Using Phenaroli as a Pedagogical Approach
When it comes to teaching partimento, a highly recommended approach is to use Phenaroli's method as a guide. Phenaroli's collection provides a pedagogical structure with exercises that give a rule but also integrate variations to demonstrate different possibilities. This approach encourages students to understand that the rule must be interpreted based on the specific musical context. Phenaroli's emphasis on relational grammar reinforces the idea that the rule is not static and should be adapted according to the musical past and future. While Phenaroli's treatise serves as a valuable resource, it is important to remember that having a teacher who can provide guidance and fill in any gaps is highly beneficial, as traditional Italian pedagogy views the living body of the maestro as the ultimate source of knowledge.
The Evolution of Partimento in the 19th Century: Written Practices and Organist Traditions
In the 19th century, partimento began transitioning from an improvised practice to a more written-out approach. This change took place gradually, with composers like Butcharon and Tachinabdi composing partimenti that included hand positions and detailed realizations. Their works reflected the French influence on Italian conservatories, where French treatises were adopted and translated. Organists, who continued to improvise, played a significant role in preserving a 19th-century style of partimento. The training they received allowed for improvisation and a more chromatic usage of partimenti. Even though the theoretical language remained similar, with notions of ghost bass and fundamental mass, the emphasis shifted to training composers in real musical forms of the time, such as romanza. Despite changes in practice, the tradition of learning partimento persisted throughout the century and was essential in shaping the musical education of Italian composers.
The Distinctive Nature of Italian Music Education: Cooperative Learning and Mutual Teaching
Italian music education throughout history has been characterized by a distinctive approach, exemplified by cooperative learning and mutual teaching. This tradition is influenced by the conservatory system, where students lived, shared life, and studied together. The conservatories fostered an environment that encouraged mutual teaching and learning among students. This cooperative learning approach allowed knowledge to be transmitted from older, more advanced pupils to younger ones. The presence of Maestricelli, advanced students who passed internal competitions, further facilitated the transmission of knowledge. The close-knit community of conservatory students allowed for constant learning and development, as students continuously explained and clarified concepts to each other. This collaborative atmosphere not only enhanced musical skills but also nurtured social connections and emotional ties among the students. This unique tradition of Italian music education provided an effective means of learning and reinforcing concepts, ultimately shaping the musical education of aspiring composers.
Partimento as the Foundation of Tonal Music
Partimento, the traditional Italian music pedagogy, served as the foundation of tonal music. It provided a comprehensive system that incorporated touch, look, sight, and hearing to reinforce learning. The practice of partimento enabled musicians to easily recognize and understand the tonal elements present in compositions, such as the rule of the octave and cadences. By studying and playing pieces containing partimento patterns, musicians could memorize and read music more easily, as they were already familiar with the underlying grammar. This practice also facilitated a deeper understanding and appreciation of music, as it connected the sensorial aspects of touch, look, sight, and hearing.
Challenges and Opportunities in Teaching Partimento
Teaching partimento presents a unique challenge and opportunity in music education. The initial struggle for students lies in the transition from playing pre-existing music to realizing something that doesn't yet exist, which requires playing and creating simultaneously. However, the cooperative class model, where more advanced students guide and assist younger ones, proves to be effective in facilitating the learning process. This hands-on approach, along with an emphasis on singing and listening, helps students develop a deeper understanding and ability to recognize partimento patterns in music. Furthermore, a reorientation of music education is necessary to include a more holistic approach that combines partimento with other elements, such as harmonies and counterpoint, and ensures a personalized and practical teaching experience.
My guest today is Music Scholar and Pianist, Professor Gaetano Stella! An expert on the subject of partimento, particularly partimento in the 19th century. We talk about the partimento tradition in the 19th century and his methods for teaching partimento in the classroom today.
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