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This volume reflects a multidisciplinary approach, with the
accent on the interplay between music performance and music theory.
Thomas Christensen, in his contribution, shows how the development
of tonal harmonic theory went hand in hand with the practice of
thoroughbass. Both Robert Gjerdingen and Giorgio Sanguinetti focus
on the Neapolitan tradition of partimento. Gjerdingen addresses the
relation between the realization of partimenti and contrapuntal
thinking, illustrated by examples of contrapuntal imitation and
combination in partimenti, leading to the "partimentofugue."
Sanguinetti elaborates on the history of this partimentofugue from
the early eighteenth until the late nineteenth century. Rudolf
Lutz, finally, presents his use of partimenti in educational
practice, giving examples of how reviving this old practice can
give new insights to composers, conductors, and musicians.
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