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Reconstructing the Paris Conservatory'sCours d'Harmonie1812-1844

Discipline, Sources, Theory, and Method

Bibliographic Data

ID4996667
AuthorsMichael Masci (SUNY Geneseo), Michael J Masci (SUNY Geneseo, corresponding author)
Year2022
Volume28
Issue4
Publication date2022-12-01
Open AccessYes
TypeARTICLE
VenueMusic Theory Online (JOURNAL)
Journal identifiersISSN: 1067-3040 • E-ISSN: 1067-3040
PublisherSociety for Music Theory (PUBLISHER • US)
DOI10.30535/mto.28.4.4
OpenAlexW4392836148
LanguageEN
Citations received1
References cited5

A growing body of scholarship on practical music theory traditions, and Italianpartimentopedagogy in particular, has begun to shed light on the nature of harmony pedagogy prior to the development of functional tonal theory. The methods of the Italian schools were not adopted wholesale in Paris, but rather interacted with local pedagogies, resulting in an institutionally-specific approach to teaching harmony. In Paris, the study of written harmony relied on a contrapuntal method for polyphonically realizing and elaborating a series of canonic figures in the form ofcadences(progressions);marches(sequences);modulations;broderies(non-harmonic tones),altérations(chromatic alterations); andpédales(pedals).This article reconstructs the basic catalog of the first four of these elements which served as the cornerstone of the harmony course at the Paris Conservatory across the nineteenth century. In addition, it illustrates how the incorporation of these elements within the institutional confines of the Conservatory resulted in both their distinctive pedagogical treatment and the advancement of a specific compositional method

Aesthetics · Art · Cornerstone · Epistemology · Literature · Mathematics education · Music theory · Musical · Political science · Scholarship · Sociology · Visual arts · Diverse Musicological Studies · Musicians’ Health and Performance · Musicology and Musical Analysis · Philosophy · Psychology

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Citations per year0.5
Citation span2024 - 2024 (1)
Highly citedNo

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