Peter van Tour

From Wikipedia, the free encyclopedia

Peter van Tour (born 1966) is a Dutch musicologist, music historian and music theorist, specializing in , Counterpoint and Historical Improvisation. He is best known as an expert in the field of Partimento and is the author of "Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples", his doctoral dissertation. Van Tour is an associate professor of Aural Training at the Norwegian Academy of Music.[1]

Education[]

Van Tour has Masters Degrees in Music Pedagogy (Brabant Conservatory, 1988), Musicology (Utrecht University, 1990) and Music Theory (Royal College of Music, Stockholm, 2008). In 2015, van Tour received his PhD in Musicology and Music Theory from Uppsala University, with his dissertation "Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples" winning the Hilding Rosenberg Award for Musicology.[1]

Research on Counterpoint and Partimento[]

Van Tour's research has helped identify two different schools of counterpoint instruction among the music conservatories of Naples in the 18th century. These are the school of Leonardo Leo, which emphasized adding counterpoint above or below a cantus firmus and the school of Francesco Durante, which emphasized writing counterpoint above a bass line.[2][3][4]

Awards[]

  • Hilding Rosenberg Award of Musicology (2016) - Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples[5]

Books[]

  • van Tour, Peter (2017). The 189 Partimenti of Nicola Sala: Complete Edition with Critical Commentary. Acta Universitatis Upsaliensis. ISBN 978-91-554-9778-1.
  • van Tour, Peter (2015). Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples. Acta Universitatis Upsaliensis. ISBN 978-91-554-9197-0.

Notes[]

  1. ^ Jump up to: a b Norwegian Academy of Music Faculty Page
  2. ^ Slominski 2016, p. 295, "Counterpoint and Partimento is a laudable contribution to modern-day knowledge of eighteenth-century Neapolitan musical practice. As contemporary views of historical musical training continue to build, Peter van Tour's study will remain a vital pillar."
  3. ^ Gjerdingen 2016, p. 124, "Van Tour’s achievement is remarkable both for the breadth of sources brought to bear on the problem and for the powers of synthesis needed to see how they all fit together."
  4. ^ Forkert 2016, p. 157, "The greatest success, however, must be the fact that he has provided his field of study with another dimension that future scholarship in this area will not be able to ignore."
  5. ^ Royal Swedish Academy of Music 2016

References[]

  • Slominski, Johnandrew (2016). "Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples by Peter van Tour". Notes. 73 (2): 292–295. doi:10.1353/not.2016.0129. S2CID 193721218.
  • Gjerdingen, Robert O. (2016). "Peter van Tour Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples Uppsala: Uppsala Universitet, 2015 pp. 318, isbn 978 91 554 9197 0". Eighteenth Century Music. 13: 123–129. doi:10.1017/S1478570615000524.
  • Forkert, Annika (2016). "Godfathers of counterpoint". Early Music. 44: 155–157. doi:10.1093/em/caw002.

External links[]

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