« The basso continuo phenomenon, as a practice for accompanying one or more vocal and/or instrumental lines, spread throughout Europe and colonies from the end of the sixteenth century to the threshold of the nineteenth century, including several stylistic and notational peculiarities, according to different contexts and repertoires.
As a halfway between composition and performance, which can integrate and/or substitute other notational systems, continuo was born as a shorthand of a contrapuntal texture that was extemporaneously reconstructed by performers. Nevertheless, continuo practice and partimento from the late eighteenth century became also pedagogical tools essential to the composition training.
The conference, open to musicologists, performers, and music teachers intends to explore developments, stylistic features, similarities and idiosyncrasies of the figured bass across different geographical areas and periods of time. We investigate any kind of sources, documentation, music instruments (e.g. organological features, line-ups, doublings) as well as performative contexts, both professional (e.g. theatre, church, court) and amateur (e.g. domestic enjoyment of certain social classes). »
Date limite de soumission : 28 mars 2021.
Pour plus de détails, voir l’appel en ligne.