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  • 1.
    van Tour, Peter
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för musikvetenskap.
    Canons and Canonic Techniques, 14th–16th Centuries2009Inngår i: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, Vol. 91, s. 155-156Artikkel, omtale (Annet vitenskapelig)
    Fulltekst (pdf)
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  • 2.
    van Tour, Peter
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för musikvetenskap.
    Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples2015Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    During the second half of the eighteenth century, the city of Naples had three music conservatories: the Conservatorio di Santa Maria di Onofrio, the Conservatorio di Santa Maria di Loreto, and the Conservatorio di Santa Maria della Pietà de’ Turchini. Through disciplines such as solfeggio, partimento, and counterpoint, the students at these institutions received highly professional training in singing, instrumental playing, and composition.

    This study reveals new evidence that partimenti were used not only as exercises in keyboard playing, but also as exercises in written counterpoint. As counterpoint exercises, partimenti were used either as bass lines over which students wrote one or several contrapuntal parts, or as notational devices that facilitated the sketching of fugues.

    Musicologists have previously encountered considerable difficulties in identifying and describing differences between the schools of Leonardo Leo and Francesco Durante, represented by the terms Leisti and Durantisti. This study shows that these schools are primarily defined through different methods of teaching counterpoint. Contemporary counterpoint notebooks show that the maestri at Sant’Onofrio and Santa Maria di Loreto followed Durante’s teaching methods, while the maestri at La Pietà followed Leo’s teaching methods. The school of Durante emphasized the writing of melodic lines over a hexachordal scale or a partimento bass, using different methods, such as the moti del basso and prescribed conditions. The school of Leo favored the use of invertible counterpoint, emphasizing skills in sketching and writing choral fugues from subjects and countersubjects.

    For the first time, the partimento and solfeggio repertoire used at the Neapolitan conservatories has been systematically investigated through the creation of two research tools, the databases UUPart: The Uppsala Partimento Database and UUSolf: The Uppsala Solfeggio Database, published online on two companion websites.

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  • 3. van Tour, Peter
    Improvised and Written Canons in Eighteenth-Century Neapolitan Conservatories2018Inngår i: journal of the alamire foundation, ISSN 2032-5371, Vol. 10, nr 1, s. 133-146Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    According to the current understanding of the curriculum at the Neapolitan conservatories, students were taught composition primarily through partimento-playing and through written studies in counterpoint. However, singing instruction was equally fundamental as keyboard playing. In this essay I highlight the importance of sung canoni (or canon solfeggi) in the lessons of Nicola Sala (1713-1801), at the Conservatorio della Pietà de Turchini. With such improvised canons, students were systematically prepared for composing written counterpoint, including the final stretto of the fugue, in which canon technique was applied.

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  • 4.
    van Tour, Peter
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för musikvetenskap. peter.vantour@kuleuven.be.
    Partimento teaching according to Francesco Durante, investigated through the earliest manuscript sources2017Inngår i: Studies in Historical Improvisation: From 'Cantare super Librum' to Partimenti / [ed] Massimiliano Guido, Oxford: Routledge, 2017, s. 131-148Kapittel i bok, del av antologi (Fagfellevurdert)
  • 5.
    van Tour, Peter
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för musikvetenskap.
    The 189 Partimenti of Nicola Sala: Complete Edition with Critical Commentary. Volume 1. Nos. 1-1002017Bok (Annet vitenskapelig)
    Abstract [en]

    This edition presents the complete partimenti of Maestro Nicola Sala (1713–1801), composer and teacher of counterpoint at the Conservatorio della Pietà de’ Turchini in Naples. The initial impulse to create this edition arose after I encountered Sala’s partimenti in Alexandre-Étienne Choron’s three volume treatise Principes de Composition des Écoles d’Italie (1808–09). The pedagogical sophistication of Sala’s keyboard exercises in the first volume of Choron’s Principes immediately caught my interest: the exercises invite the student to hone their skills in counterpoint and fugue experimentally through a series of progressive keyboard exercises. These partimenti not only address practical skills in realizing thoroughbass, they are also designed to develop the student’s understanding of the exercise’s thematic material and to exploit its implications in the art of practical counterpoint. As such, Sala’s partimenti reveal what most counterpoint treatises fail to address, that is: how to develop contrapuntal fluency systematically at the keyboard. (From Peter van Tour, “Introduction”, The 189 Partimenti of NICOLA SALA. Complete Edition with Critical Commentary, Volume 1.).

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  • 6.
    van Tour, Peter
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för musikvetenskap.
    The 189 Partimenti of Nicola Sala: Complete Edition with Critical Commentary. Volume 2. Nos. 101-1892017Bok (Annet vitenskapelig)
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  • 7.
    van Tour, Peter
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för musikvetenskap.
    The 189 Partimenti of Nicola Sala: Complete Edition with Critical Commentary. Volume 3. Critical commentary2017Bok (Annet vitenskapelig)
    Fulltekst (pdf)
    fulltext
    Download (jpg)
    presentationsbild
  • 8.
    van Tour, Peter
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för musikvetenskap. peter.vantour@kuleuven.be.
    The Gallipoli Manuscript: Partimento Realizations of Francesco Durante’s  Studj per cembalo con partimenti diversi  part 1: nos. 1–30 (ca. 1750)2017Collection/Antologi (Annet vitenskapelig)
  • 9.
    van Tour, Peter
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för musikvetenskap.
    The Gallipoli Manuscript: Partimento Realizations of Francesco Durante’s Studj per cembalo con partimenti diversi, part 2: nos. 31–46 (ca. 1750)2017Collection/Antologi (Annet vitenskapelig)
  • 10.
    van Tour, Peter
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för musikvetenskap.
    The lost art of partimento2013Inngår i: Early Music, Vol. 41, nr 2, s. 340-341Artikkel, omtale (Annet vitenskapelig)
  • 11.
    van Tour, Peter
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för musikvetenskap.
    The Uppsala Partimento Database2015Annet (Annet vitenskapelig)
  • 12.
    van Tour, Peter
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Institutionen för musikvetenskap.
    The Uppsala Solfeggio Database2015Annet (Annet vitenskapelig)
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