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Page 34 Longnecker • The Partimento Tradition Hammel, Maria. “The Figured-Bass Accompaniment in Bach’s Time: A Brief Summary of Its Development and an Examination of Its Use, Together with a Sample Realization, Part I.” Bach 8, no. 3 (July 1977): 26-31 . http://www.jstor.org/stable/41640029 . ———. “The Figured-Bass Accompaniment in Bach’s Time: A Brief Summary of Its Development and an Examination of Its Use, Together with a Sample Realization, Part II.” Bach 9, no. 1 (January 1978): 30-36. http://www.jstor.org/stable/41640045 . Holtmeier, Ludwig. “Heinichen, Rameau, and the Italian Thoroughbass Tradition: Concepts of Tonality and Chord in the Rule of the Octave.” Journal of Music Theory 51, no. 1 (Spring 2007): 5-49 . http://www.jstor.org/stable/40283107 . Rameau, Jean-Philippe. Treatise on Harmony . Translated by Philip Gossett. New York: Dover Publications, 1971. Renwick, William, ed. The Langloz Manuscript: Fugal Improvisation through Figured Bass . New York: Oxford University Press, 2001. Sanguinetti, Giorgio. The Art of Partimento: History, Theory, and Practice . New York: Oxford University Press, 2012. Serebrennikov, Maxim. “From Partimento Fugue to Thoroughbass Fugue: New Perspectives.” Bach 40, no. 2 (2009): 22-44. http://www.jstor.org/stable/41640589 . Sheldon, David A. Marpurg’s “Thoroughbass and Composition Handbook:” A Narrative Translation and Critical Study . Stuyvesant, NY: Pendragon Press, 1989. Van Tour, Peter. Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples . Uppsala: Acta Universitatis Usaliensis, 2015.

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