| Popis: |
Between 1800 and 1860, most Italian theory was practical in orientation. The partimento and solfeggio traditions of the eighteenth century were still taught. A northern Italian tradition of speculative theory, stemming from Vallotti, is evident in Asioli’s treatise on harmony. Foreign influences came mostly from France, and French treatises were translated into Italian. Asioli’s theories of rhythm derive from Reicha, Momigny, and Baini. Important theories were developed in Germany, but German theoretical writings were not translated into Italian and were little known in Italy. During this period, German theories of meter used a beginning-accented model that differed fundamentally from French and Italian concepts. |
