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The Solfeggio TraditionA Forgotten Art of Melody in the Long Eighteenth Century$
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Nicholas Baragwanath

Print publication date: 2020

Print ISBN-13: 9780197514085

Published to Oxford Scholarship Online: November 2020

DOI: 10.1093/oso/9780197514085.001.0001

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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: 18 January 2022

Unaccompanied Solfeggio

Unaccompanied Solfeggio

Chapter:
(p.249) 11 Unaccompanied Solfeggio
Source:
The Solfeggio Tradition
Author(s):

Nicholas Baragwanath

Publisher:
Oxford University Press
DOI:10.1093/oso/9780197514085.003.0011

The chapter recounts the history of unaccompanied solfeggio from the eleventh century to the eighteenth. This includes plainchant and Renaissance-style contrapuntal ricercars of the sort that continued to inform liturgical music in many churches. Archaic Type 1 solfeggi were used for canto fermo lessons throughout the eighteenth century, whereas more up-to-date examples were used for the study of theory, for scales and leaps, and for exercises in melodic composition. The earliest known collection of Type 2 solfeggiamenti (1642) derived from vocal ricercars and sung counterpoints. This tradition persisted in Bologna but in Naples the solfeggiamento adopted the latest fashionable styles, as seen in examples by Pergolesi and Durante. The chapter ends with a discussion of the solfeggio fugue with examples by Zingarelli and Haydn.

Keywords:   plainchant, counterpoint, ricercar, modes, musica ficta, solfeggio fugue

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