International Musicological Conference


University of Ljubljana, Faculty of Arts, Ljubljana, Slovenia


16 and 17 November 2020


Tartinijev Trg

Monday, 16 November 2020

Live stream:

If you wish to attend the online conference directly on Zoom, please contact us at


Opening of the conference and welcome speeches


9.30 Keynote speaker I

Sergio Durante, TBA


10.30 Break


10.45 Session 1

In Search of Perfect Harmony in Music: Tartini’s Musical Language

Baiba Jaunslaviete, Violin Sonatas by Giuseppe Tartini from the Perspective of Musical-Rhetorical Figures

Tommaso Luison, Poetic Mottoes and Giuseppe Tartini’s Musical Language in the 1888 Autograph Manuscript

Margherita Canale Degrassi, The Orchestral Accompaniments of Giuseppe Tartini’s Concertos for Violin and Orchestra and the Third-Tone Theory: Hypotheses for an Analysis


12.15 Break


14.00 Session 2

Maestro delle nazioni: Tartini’s Influence and Reception and Dispersion of his Work

Lucija Konfic, Giuseppe Michele Stratico’s Theoretical Thinking – Transgressing the Boundaries of Tartini’s School

Ana Lombardía, The Reception of Tartini’s Violin Sonatas in Madrid (ca. 1740–ca. 1800)

Juan Mariano Porta, Tartini’s Trio Sonatas in the Berkeley Collection (US-Be)

Keir GoGwilt, The Instrumental Vernacular: Migrating Tastes & Techniques in Tartini’s Sonate Piccole & Craigie Hill


16.00 Break


16.30 Keynote speaker 2

Pierpaolo Polzonetti, Bach, Tartini, and their Network


20.00 Online concert

Tartini’s Music Throughout Europe: Naples – Venice – London – Osnabrück – Amsterdam – Copenhagen – Uppsala

Ensemble musica cubicularis with Anne Freitag, traverso




Tuesday, 17 November 2020

Live stream:

If you wish to attend the online conference directly on Zoom, please contact us at


9.00 Session 3

In Search of Perfect Harmony in Musical Thought: Tartini’s Theory and Beyond

Nejc Sukljan, Tartini and the Ancients: Traces of Ancient Music Theory in Tartini–Martini Correspondence

Richard Parncutt, Tartini’s Harmonic Theory: Fundamental Psychological Problems

Bella Brover-Lubowsky, ‘other Art than the imitation of Nature’: Tartini, Algarotti, and the Hermeneutics of Modal Dualism

Roberta Vidic, Tartini’s ‘Musical Inference’ between Epistemology and History of Harmony


11.00 Break


11.15 Session 4

Tartini and Istria

Dario Marušić, Folk fiddling in Istria

Boštjan Udovič & Matevž Štepec, Giuseppe Tartini as an (Missed) Opportunity for Slovenia’s Cultural Diplomacy


12.15 Break


14.00 Session 5

Performing, editing and translating Tartini

Domen Marinčič, Tartini’s Music Performed without Chordal Continuo

Luisa Antoni, Tartini’s Violin Sonatas in the Collections of Pente-Zanon (1911) and Malipiero (1918–1921) and Their Piano Realizations Compared to Today’s Realizations of the Basso Continuo

Jerneja Umer Kljun, Understanding Tartini and His Thought – Overcoming Translation Difficulties in the Correspondence between Tartini and Martini


15.30 Final remarks and break


16.00 Presentation and discussion

Giuseppe Tartini, Lettere e documenti: New edition and translations of Tartini’s letters


20.00 Special radio broadcast

Slovenia in song and prose, Fringes of Tradition


The 250th anniversary of the death of the famous violinist, violin teacher, composer and music theorist Giuseppe Tartini (1692–1770), which we will commemorate in 2020, presents an opportunity to reconsider the research of his life and work already done, as well as to address topics that have so far remained in the background. The international musicological conference, which will be held on 16 and 17 November 2020 in Ljubljana and Piran, Tartini’s birthplace, will focus on Tartini’s musical-theoretical thought and his compositional creativity.

When in 1896 Tartini’s monument was erected in Piran, one of the commemorative records named him as “an artist and scientist of European reputation without an equal” (Amico, 2 August, 1896). Indeed, not many musicians made history both as an outstanding composer (the renowned mathematician, physicist and Tartini’s contemporary Leonhard Euler even called him the greatest composer of the time) and as an exceptional music theorist (beginning from traditional musical-theoretical ideas, Tartini laid the foundation for many later music-acoustical considerations). Especially after he began to devote himself to speculative reflections on music, Tartini seems to have been searching for harmony between music theory (which he studied in depth, even reaching back to ancient concepts of music) and musical practice (his daily routine as composer and violinist at St Anthony’s Basilica in Padua and as violin teacher).

Given that during his lifetime Tartini’s music and musical-theoretical works were known throughout Europe, they should also be considered in a broad European context. Despite his international reputation and his residence in Padua, Tartini remained connected to his native Piran: although he never returned to live there after 1708, when he left for Padua, he stayed in touch with his family through a lively correspondence. The influence of local (Istrian) folk-music traditions is of particular importance for his compositional output as well as for his theoretical reflections on music. This is revealed by the fact that the Piran archives still hold many Tartini documents, including manuscripts containing theoretical essays and fragments.

In this context, the following themes seem to be of special interest:

– Tartini’s music-theoretical thought in Italian and European contexts.

– Tartini as a follower of ancient theoretical tradition.

– Specific musical-theoretical questions in Tartini’s treatises.

– Tartini as a mathematician and a philosopher.

– Previous research on Tartini’s musical-theoretical thought and the publications of his musical-theoretical writings.

– Links between Tartini’s music theory and his compositional work.

– Tartini’s music in the European context.

– Tartini’s perceptions of folk-music tradition.

– Traces of folk music (especially Istrian) in Tartini’s works.

– Musical analysis of Tartini’s works.

– Music-theoretical and compositional influences on Tartini and Tartini’s influence on music theorists and composers of later periods.

– Other themes connected to Tartini’s compositional and musical-theoretical work.


Proposals for papers (20 minutes + 10 minutes discussion), which should include a title and a short summary of the proposed topic (200-400 words), a short biography and contact details of the author, are to be sent by Sunday, 31 May 2020, to



Authors will be informed about the selection of papers, which will be reviewed by the international scholarly committee, no later than 30 June 2020. The final programme of the conference will be formed by the middle of October 2020. After the conference, the selected papers will be published either in a monograph or a special number of Musicological Annual.


The official languages of the conference will be Slovenian and English.


The registration fee for active participation at the conference is € 50.00; members of the Slovenian Musicological Society may participate free of charge.


Invited keynote speakers

Prof. Sergio Durante, Ph. D. (University of Padua)

Prof. Pierpaolo Polzonetti, Ph. D. (University of California, Davis)

International scholarly committee

prof. Patrizio Barbieri (Rome)

prof. dr. Matjaž Barbo (University of Ljubljana)

prof. Sergio Durante, Ph. D. (University of Padua)

znan. svet. dr. Metoda Kokole (Research Centre of the Slovenian Academy of Sciences and Arts))

prof. dr. Svanibor Pettan (University of Ljubljana)

prof. Neal Zaslaw, Ph. D. (Cornell University)

Organizational committee

doc. dr. Katarina Bogunović Hočevar (Faculty of Arts, University of Ljubljana)

znan. sod. dr. Klemen Grabnar (Research Centre of the Slovenian Academy of Sciences and Arts)

doc. dr. Nejc Sukljan (Faculty of Arts, University of Ljubljana)

Do you have questions?