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.