Book contents
- Frontmatter
- Contents
- List of Illustrations
- Preface and Acknowledgments
- Abbreviations
- Preliminary Remarks
- Introduction
- 1 Giovanni Paisiello, Composer and Teacher
- 2 The Sources
- 3 Instruction at the Conservatories
- 4 Paisiello’s Regole (1782)
- 5 Practical Examples from Paisiello’s Circle
- 6 The Practical Application of Partimenti Today
- Afterword
- Appendix 1 Incipits and Sources for the Partimenti of Giovanni Paisiello
- Appendix 2 Concordance for the Sources of Giovanni Paisiello’s Partimenti
- Appendix 3 Disposizioni à 2 and Disposizioni à 3 on Partimento Gj2319 by Giovanni Paisiello
- Appendix 4 Partimenti from Giovanni Paisiello’s Regole (1782)
- Appendix 5 Historical Realizations of Partimenti by Francesco Durante from The Vessella Manuscript and The Gallipoli Manuscript
- Appendix 6 “Preludio” and “Rondò” in B-flat major by Giovanni Paisiello, Both in the Original Version and in a Suggested Variation by This Author
- Appendix 7 Emanuele Imbimbo: Observations sur l’enseignement mutuel (1821)
- Appendix 8 A Solfeggio Attributed to Giovanni Paisiello in Its Original Version and with a Varied Upper Voice by This Author
- Appendix 9 Giovanni Paisiello, Regole per bene accompagnare il Partimento, St. Petersburg, 1782
- Appendix 10 Newly Discovered Partimenti by Giovanni Paisiello
- Bibliography
- Index
Appendix 7 - Emanuele Imbimbo: Observations sur l’enseignement mutuel (1821)
Published online by Cambridge University Press: 11 January 2023
- Frontmatter
- Contents
- List of Illustrations
- Preface and Acknowledgments
- Abbreviations
- Preliminary Remarks
- Introduction
- 1 Giovanni Paisiello, Composer and Teacher
- 2 The Sources
- 3 Instruction at the Conservatories
- 4 Paisiello’s Regole (1782)
- 5 Practical Examples from Paisiello’s Circle
- 6 The Practical Application of Partimenti Today
- Afterword
- Appendix 1 Incipits and Sources for the Partimenti of Giovanni Paisiello
- Appendix 2 Concordance for the Sources of Giovanni Paisiello’s Partimenti
- Appendix 3 Disposizioni à 2 and Disposizioni à 3 on Partimento Gj2319 by Giovanni Paisiello
- Appendix 4 Partimenti from Giovanni Paisiello’s Regole (1782)
- Appendix 5 Historical Realizations of Partimenti by Francesco Durante from The Vessella Manuscript and The Gallipoli Manuscript
- Appendix 6 “Preludio” and “Rondò” in B-flat major by Giovanni Paisiello, Both in the Original Version and in a Suggested Variation by This Author
- Appendix 7 Emanuele Imbimbo: Observations sur l’enseignement mutuel (1821)
- Appendix 8 A Solfeggio Attributed to Giovanni Paisiello in Its Original Version and with a Varied Upper Voice by This Author
- Appendix 9 Giovanni Paisiello, Regole per bene accompagnare il Partimento, St. Petersburg, 1782
- Appendix 10 Newly Discovered Partimenti by Giovanni Paisiello
- Bibliography
- Index
Summary
Emanuele Imbimbo: Observations sur l’enseignement mutuel appliqué à la musique, et sur quelques abus introduits dans cet art, précédées d’une notice sur les conservatoires de Naples (Observations on peer-to-peer teaching applied to music, and on certain abuses introduced to this art, preceded by a note on the conservatories of Naples; Paris 1821), pp. 3–7 and 17.
[3] With regard to their musical instruction, the pupils were divided into classes that one might describe as follows: the class for musical elements, which included solfeggio; the singing class; the partimenti class; the counterpoint class, and finally, the instrumental classes
[4] for keyboards, strings, and winds. The vocal classes were divided into soprano, alto, tenor, and bass, each with its own class.
There were external teachers, paid by each conservatory, who only communicated with the advanced pupils of each class (these external teachers were almost all former pupils of the conservatory); they were in addition to teachers for writing and Latin.
[3] Les élèves, sous le rapport de l’instruction musicale, étaient divisés par classes, qu’on peut réduire aux suivantes: la classe des éléments, y compris le solfège; celle du chant; celle des partimenti; celle du contrepoint; enfin, les classes des instruments à
[4] touches, à cordes, et à vent. Les voix étaient classées en soprano (dessus), alto (haute-contre), tenore (taille), et basso (basse-taille); et chaque espèce de voix formait une classe à part.
Il y avait des maîtres externes, payés par chaque conservatoire, qui ne communiquaient qu’avec les élèves supérieurs de chaque classe (les maîtres externes provenaient presque tous des élèves supérieurs du Conservatoire), outre les maîtres d’écriture et de langue latine.
When the bell announced the arrival of a teacher, such as the teacher for counterpoint, the advanced pupils of the class gathered at the agreed place with their cartella (this was a thick varnished cloth, with staff lines, on which one could write and wipe away music as he pleased); the teacher would examine each cartella carefully, and correct all of them, one by one, in the presence of all the pupils of the class. The other teachers followed the same procedure with the advanced pupils in their respective classes.
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- The Partimenti of Giovanni PaisielloPedagogy and Practice, pp. 201 - 206Publisher: Boydell & BrewerPrint publication year: 2022