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Child Composers in the Old ConservatoriesHow Orphans Became Elite Musicians$
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Robert O. Gjerdingen

Print publication date: 2020

Print ISBN-13: 9780190653590

Published to Oxford Scholarship Online: September 2020

DOI: 10.1093/oso/9780190653590.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 21 June 2021

Dispositions and the Mastery of Complexity

Dispositions and the Mastery of Complexity

Chapter:
(p.159) 12 Dispositions and the Mastery of Complexity
Source:
Child Composers in the Old Conservatories
Author(s):

Robert O. Gjerdingen

Publisher:
Oxford University Press
DOI:10.1093/oso/9780190653590.003.0012

What today we might term “orchestration” or “arranging” would have fallen under the term “disposition” in Naples. The same counterpoint, for example, could be realized as a “disposition in three voices” or “in four voices.” Each voice or instrumental part would be written on its own staff. Unlike in partimento playing, where small errors in counterpoint could be ignored, dispositions made every interrelationship visible and open to inspection and evaluation. The French four-voice realizations (realisations) in open score that figured so prominently in the contests for harmony and fugue at the Paris Conservatory were direct descendants of Neapolitan dispositions.

Keywords:   Giovanni Furno, Stanislao Mattei, Giovanni Battista Martini, Bonifazio Asioli, Vincenzo Lavigna, Augustin Savard, Nicola Fago

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