The relationship between theory and practice in the treatise Lo spirito Tartiniano [...] by Tartini’s student Joseph Michael Stratico (1728 - after 1782)

Zadarskoj obitelji Stratico, koja je dala brojne uglednike, pripada i skladatelj Josip Mihovil (Giuseppe Michele) Stratico (1728- nakon 1782). Školujući se u Padovi (studij prava), učio je violinu i kompoziciju kod Giuseppea Tartinija (1692- 1770). Njegov skladateljski opus (od, koliko je za sada poznato, preko 300 djela) namijenjen je gudačkim instrumentima i stilski je blizak Tartiniju i njegovom krugu. U rukopisu su ostala sačuvana i Straticova dva teorijska spisa „Trattato di musica“ i „Lo spirito Tartiniano“ koji se čuvaju u Biblioteci Marciana u Veneciji. S obzirom na Straticovo djelovanje i kao skladatelja i kao praktičnog glazbenika – violinista, ovaj rad nastoji otkriti odnos teorije i prakse u njegovom traktatu „Lo spirito Tartiniano“ (oko 1770) te rezultate uspoređuje s Tartinijevim traktatom „De’ principi dell’ armonia contenuta nel diatonico genere“ (1767) o čijim tezama Stratico - učenik polemizira na način dijaloga sa svojim učiteljem - Tartinijem. Naglasak je stavljen na sličnostima i/ili razlikama u stavovima dvojice primarno praktičnih glazbenika koji su, u skladu sa svojim vremenom, imali potrebu pristupiti glazbi i s teorijskog aspekta. Odnos teorije i prakse Stratico određuje već raspodijelom uloga u dijalogu: Učitelj se jedne strane postavlja kao znanstvenik i ima ulogu branitelja (svojih teorijskih stavova), dok Učenik zauzima poziciju glazbenika praktičara i predstavnik je modernih strujanja. Kroz imaginarni dijalog Stratico otvara samo ona pitanja iz Tartinijevog traktata koja mu se kao prakičnom glazbeniku čine korisna: pitanje tzv. terzo suono kao osnove Tartinijevog sustava, problem male sekste u Šesterostrukom dijatonskom konsonantnom sustavu, izvod dijatonske ljestvice, problem septime u sustavu disonanci i sl.The composer Giuseppe Michele Stratico (1728 - after 1782) belongs to the noble Stratico family from Zadar, which has given a number of dignitaries. Studying law in Padua, he studied also violin and composition with Giuseppe Tartini (1692-1770). His compositions (more than 300 pieces, as far as now known) are mainly for string instruments and close to Tartini and his circle’s style. Two theoretical treatises by Stratico are preserved in manuscript form: “Trattato di Musica” and “Lo spirito Tartiniano”, both stored in the Biblioteca Marciana in Venice. Since Stratico was active both as a composer and as a practical musician - a violinist, this paper tries to discover the relationship between theory and practice in his treatise “Lo spirito Tartiniano” (about 1770) and to compare the results with Tartini’s treatise “ De’ principi dell’ armonia contenuta nel diatonico genere”( 1767), whose theories Stratico - student polemics in the way of dialogue with his teacher - Tartini. Emphasis is placed on the similarities and/or differences in the attitudes of the two primarily practical musicians who, in accordance with their time, had the need to approach the music also from the theoretical aspect. The relationship between theory and practice Stratico determines already allocating the roles in the dialogue: the Teacher at the one hand, is a scientist and has the role of defender (of his theoretical views), while the Student occupies the position of practical musician and a representative of the modern views. Through an imaginary dialogue Stratico opens only those questions of Tartini’s treatise which he considers useful to himself as a practical musician: the question of socalled terzo suono as the fundament of Tartini’s system, the problem of a minor sixth in Sestupla diatonica consonante sistema, the derivation of diatonic scale, the problem of the seventh in the dissonance system, etc