Partimento as a research object in the 21st century musicology

Abstract

In the 18th century, the Italian clavier tradition of partimento was widespread in Europe. It is being considered as a research object only from the end of the 20th century, and nowadays it is being explored by scholars from the various countries. Despite the ongoing increase in the number of publications on the partimento, its general idea is still ambiguous because of the complexity of the practice. Today the existence of its different interpretations (from the hyperbolization of its significance in the music of the eighteenth century to its denial) calls for the need to turn to the features of the scientific reception of partimento. In the works of the researchers, the practice is shown from the various aspects. The main discrepancies are related to the comprehension of the problem of the phenomenon of partimento. They extend from the discussion of the etymology to the comprehension of the peculiarities of the practice: the correlation of its instructive and artistic nature; features of improvised and composed music; its connection with basso continuo. The article highlights the most controversial issues connected with the understanding of the partimento.