[1] The study of contrapuntal pa.erns and their diminutions was a common thread among historical music pedagogies. Medieval and Renaissance musicians learned counterpoint by memorizing intervallic combinations and internalizing surface pa.erns (Busse Berger 2005). The partimento “rules,” or pa.erns, of the eighteenth century (such as Francesco Durante’s “when the partimento ascends by half step, it takes the 6th”) were comparable to the formulas of the Klangschri lehre tradition (Sachs 1971).(1) By providing an incipit for realizing the partimento Gj. 92 (Example 1), Durante tacitly taught a canon module (Example 2) associated with the long-standing tradition of improvised vocal counterpoint (surveyed in Froebe 2007). My realization continues the canon and responds to the ensuing bass pa.erns using Durante’s rules for realization. Thus, interrelationships among figured bass, contrapuntal skeletons, and diminution techniques pervaded centuries of musicianship pedagogy in Europe.

中文翻译：

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Massimiliano Guido 编着回顾，从 Cantare super Librum 到 Partimenti 的历史即兴创作研究（Ashgate，2017 年）

[1] 对位动词及其缩小的研究是历史音乐教学法的共同点。中世纪和文艺复兴时期的音乐家通过记住音程组合和内化表面谱来学习对位（Busse Berger 2005）。十八世纪的partimento“规则”或pa.erns（例如Francesco Durante的“当partimento上升半步时，它需要第6步”）与Klangschri lehre传统（Sachs 1971）的公式相当。 (1) 通过提供实现partimento Gj 的开始。在 92（示例 1）中，杜兰特默认教授了一个与即兴人声对位的长期传统相关的经典模块（示例 2）（在 2007 年弗罗贝中进行了调查）。我的实现延续了佳能，并使用杜兰特的实现规则来响应随后的低音pa.erns。因此，