Bulletin of Osaka College of Music
Online ISSN : 2433-4707
Print ISSN : 0286-2670
The Nineteenth Century Concept of Generalbass as Theory of Performance Practice
MISHIMA Kaoru
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2024 Volume 62 Pages 42-57

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Abstract
“ Generalbass” usually refers to the figured bass used for practical accompaniment and specific performances in German-speaking areas, from the end of the 16th century to the late 18th century. However, Generalbass had been in use for a long time, and there were subsequent changes in its content and usage in the 19th and early 20th centuries. These changes remained largely undiscussed until recently, as 19th-century harmony and Generalbass were often considered almost synonymous. The contents of several Generalbass textbook published during this period are wide-ranging, and it is not easy to define the Generalbass. However, the 19th century Generalbass continues to be used in practice, as living music theory. It also holds a significance that cannot be ignored from the aspect of partimento, which is being actively studied in the current discourse on music theory.
This paper analyses the concept and significance of the Generalbass in the 19th century, and organizes its ideas, purpose, and content based on the state of theoretical subjects at the conservatory in that period, including the contents of Generalbass practice books. Generalbass can thus be considered a theoretical framework for enriching the theoretical aspects of harmony, and ultimately for improvisational performance.
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© 2024 Osaka College of Music
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