Demonstrates how the basso continuo line has an independent musical
funxtion in ensemble music of the Italian Baroque period. Covers
the Italian Baroque period (1600-1730). Borgir rejects the notion
that the basso continuo line is doubled by bass instruments and
shows how these have an independent musical function in ensemble
music. He untangles their confusing terminology and also explores
the unexpected uses of the large lutes. Italian continuo practice
included elaborate training in improvisation described in detail
here for the first time. Tharald Borgir is Professor Emeritus in
the Music Department at Oregon State University. His principal
performance activities have been on the harpsichord and the
fortepiano.
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