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Giorgio Sanguinetti , The Art of Partimento: History, Theory, and Practice ( Oxford and New York : Oxford University Press , 2012 ). xiv + 385 pp. £32.50. ISBN 978‐0‐19‐539420‐7.

Giorgio Sanguinetti , The Art of Partimento: History, Theory, and Practice ( Oxford and New York... The most remarkable thing about this excellent and authoritative monograph on the Neapolitan partimento tradition is that it is the first. For over 40 years scholars have acknowledged (with varying degrees of reluctance) that professional music making in eighteenth‐century Europe was dominated by Italians, rather than Germans, and notably by alumni of the four Neapolitan conservatories. During the same period, unease over the historical foundations of the Romantic heritage has led to widespread scepticism of its claims to universality, its canon of ‘serious’ music and its ideologies of aesthetic autonomy and progress. The process of reappraisal began in earnest at least three decades ago, when Joseph Kerman laid bare the emperor's new clothes by pointing out that the origins of music analysis were bound up with German ‘nationalist passions’. Subsequent reactions to Carl Dahlhaus's project (to maintain the hegemony of the Romantic canon of masterworks over scholarly discourse) helped to set in motion the turn towards ‘new musicology’ which has proved to be its legacy. Given that so much scholarship of the past twenty years has sought to challenge or broaden the old grand narrative with a multiplicity of micro‐histories and contextual studies, it seems worthy of note http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

Giorgio Sanguinetti , The Art of Partimento: History, Theory, and Practice ( Oxford and New York : Oxford University Press , 2012 ). xiv + 385 pp. £32.50. ISBN 978‐0‐19‐539420‐7.

Baragwanath, Nicholas
Music Analysis , Volume 32 (2) – Jul 1, 2013
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Publisher
Wiley
Copyright
Music Analysis © 2013 John Wiley & Sons Ltd
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/musa.12009
Publisher site
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Abstract

The most remarkable thing about this excellent and authoritative monograph on the Neapolitan partimento tradition is that it is the first. For over 40 years scholars have acknowledged (with varying degrees of reluctance) that professional music making in eighteenth‐century Europe was dominated by Italians, rather than Germans, and notably by alumni of the four Neapolitan conservatories. During the same period, unease over the historical foundations of the Romantic heritage has led to widespread scepticism of its claims to universality, its canon of ‘serious’ music and its ideologies of aesthetic autonomy and progress. The process of reappraisal began in earnest at least three decades ago, when Joseph Kerman laid bare the emperor's new clothes by pointing out that the origins of music analysis were bound up with German ‘nationalist passions’. Subsequent reactions to Carl Dahlhaus's project (to maintain the hegemony of the Romantic canon of masterworks over scholarly discourse) helped to set in motion the turn towards ‘new musicology’ which has proved to be its legacy. Given that so much scholarship of the past twenty years has sought to challenge or broaden the old grand narrative with a multiplicity of micro‐histories and contextual studies, it seems worthy of note

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Music Analysis – Wiley

Published: Jul 1, 2013

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