Le 1er juillet 2017
de 10h00 à 10h30
Le Patio (université de Strasbourg)
22 rue René Descartes, 67000 Strasbourg
salle 3203
Séance - Teaching and Pedagogy (II)
Pré-acte / Acte
Auteur : Lydia Carlisi
In 1795 the Conservatoire was founded with the post-revolutionary aim to build a national French school of music, based on the French musical practice, and able to compete with similar institutions in Europe. But did this really happen? The fame of the Neapolitan School and its Maestri was well established at that time. Their practice-based teaching method (which involved Partimenti and Solfeggi) had proven to be very effective. Were the teachers at the Conservatoire influenced by this at the time well-known practice? Main goal of this research is to examine whether and how far the Neapolitan Partimento tradition influenced French music pedagogy and music theory in the first years of the 19th century. The present study focuses on the first years of the Conservatoire through an analytical reading of its Méthodes and teaching material in comparison to Neapolitan sources of Regole and Partimenti (e.g., Fenaroli, Durante). Many Italian sources, though, were published by Alexandre Étienne Choron (1771-1834) who was in charge of rebuilding the Maîtrises de Cathédrales. The first results of a three-year research in progress (2016-2019) will be presented. It seems clear at the moment that some similarities are to be found in the teaching methods and didactical material in use at the Paris Conservatoire and in the Partimento sources. The lack of written Partimento rules also raises interesting interpretation and translation issues in the terminology and musical symbols used, but also in the employment of this technique: mere accompaniment lessons in France, accompaniment and composition exercises in Italy.
