Partimento as improvisation pedagogy: renewing a lost art

Autores/as

  • Stephanie Khoury McGill University

DOI:

https://doi.org/10.33871/2317417X.2014.5.2.358

Palabras clave:

Partimento, Musical Pedagogy, Improvisation

Resumen

Throughout the 18thcentury, the practice of partimento flourished in Italian conservatories, spreading eventually to Paris where it functioned as a key pedagogical tool of the "Italian school." Partimenti can be understood to be instructional bass lines, and was used by thousands of classical composers and improvisers across Europe, a fact that is often overlooked. As a music educator who studies improvisation pedagogy, the obsolescence of the practice in the modern pedagogical landscape seems lamentable.Based on my own belief in the potential of this lost tradition to inspire new creative means to musical fluency, the present paper seeks to answer some important questions: What are partimenti?Why do we know so very little of them? How does the practice fit into improvisation pedagogy more broadly? Can a practice of partimento become a part of musical pedagogy in the 21stcentury?

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Biografía del autor/a

Stephanie Khoury, McGill University

Stephanie Khoury is a guitarist, educator, researcher, and PhD Candidate in music education at McGill University in Montreal, Quebec, Canada. Her research interests focus on different aspects of creative music education, ranging from improvisation pedagogy to community music. She has been teaching music to students of all ages for 18 years. Her teaching focuses on exploring the creative potential of students through improvisation and sound experimentation. She is presently exploring new environments for creative musical tuition that take advantage of the enormous potential of technology and autodidactic learning. Email: stephanie.khoury2@mail.mcgill.ca

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Recebido em: 25 de setembro de 2014

Aprovado em: 03 de dezembro de 2014

Publicado

2015-02-12