id	author	title	date	pages	extension	mime	words	sentences	flesch	summary	cache	txt
work_uo67dfvt6fa6teykha7ptyl6la	GIORGIO SANGUINETTI	EDITORIAL	2014	7	.pdf	application/pdf	4119	351	65	Eighteenth-Century Music 11/1, 3–9 6 Cambridge University Press, 2014 The pre-twentieth-century European (and particularly German) theoretical legacies were revered by historians of music theory, but in a field separate from pillars of music analysis: the concepts of unity, coherence, authorship and the 'work' itself. tradition (Felix Diergarten, ' ''The True Fundamentals of Composition'': Haydn's Partimento Counterpoint', Eighteenth-Century Music 8/1 (2011), 53–75) and Italian partimenti (my The Art of Partimento: The assumption of these theories is that during the eighteenth century a large number of pre-compositional schemata, comparable to building-blocks, were consciously used by most composers, and that many We are also witnessing a general crisis in the performing model rooted in the 'musical-work' paradigm, In order to 'speak' an eighteenth-century musical language, we need Improvising a complete piece of music using a partimento as a guide represents a middle ground	./cache/work_uo67dfvt6fa6teykha7ptyl6la.pdf	./txt/work_uo67dfvt6fa6teykha7ptyl6la.txt