Studies in historical improvisation from Cantare super librum to partimenti / edited by Massimiliano Guido.
In recent years, scholars and musicians have become increasingly interested in the revival of musical improvisation as it was known in the Renaissance and Baroque periods. This historically informed practice is now supplanting the late Romantic view of improvised music as a rhapsodic endeavour - a m...
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| Language: | English |
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London : New York, NY :
; Routledge,
2017.
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MARC
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| 245 | 0 | 0 | |a Studies in historical improvisation from Cantare super librum to partimenti / |c edited by Massimiliano Guido. |
| 264 | 1 | |a London : |b ; |a New York, NY : |b Routledge, |c 2017. | |
| 300 | |a 1 online resource. | ||
| 336 | |a text |b txt |2 rdacontent. | ||
| 337 | |a computer |b c |2 rdamedia. | ||
| 338 | |a online resource |b cr |2 rdacarrier. | ||
| 504 | |a Includes bibliographical references and index. | ||
| 505 | 0 | |a Half Title; Title Page; Copyright Page; Table of Contents; List of figures; List of tables; List of music examples; Foreword; Preface; Notes on contributors; Introduction: Studies in historical improvisation a new path for performance, theory, and pedagogy of music; PART I 'Con la mente e con le mani': Music and the art of memory; 1 The improvisatory moment; 2 Musical inventio, rhetorical loci, and the art of memory; 3 Climbing the stairs of the Memory Palace: Gestures at the keyboard for a flexible mind; PART II Mprovising vocal music; 4 Toward a stylistic history of Cantare super Librum. | |
| 505 | 8 | |a 5 Contrapunto and fabordón: Practices of extempore polyphony in Renaissance Spain6 Discovering the practice of improvised counterpoint; PART III Improvising keyboard music; 7 Composing at the keyboard: Banchieri and Spiridion, two complementary methods; 8 Partimento teaching according to Francesco Durante, investigated through the earliest manuscript sources; 9 Partimento and incomplete notations in eighteenth-century keyboard music; PART IV Nova et vetera: Pedagogy; 10 Teaching theory through improvisation. | |
| 505 | 8 | |a 11 Learning tonal counterpoint through keyboard improvisation in the twenty-first centuryBibliography; Index. | |
| 520 | 8 | |a In recent years, scholars and musicians have become increasingly interested in the revival of musical improvisation as it was known in the Renaissance and Baroque periods. This historically informed practice is now supplanting the late Romantic view of improvised music as a rhapsodic endeavour - a musical blossoming out of the capricious genius of the player - that dominated throughout the twentieth century. In the Renaissance and Baroque eras, composing in the mind (alla mente) had an important didactic function. For several categories of musicians, the teaching of counterpoint happened almost entirely through practice on their own instruments. This volume offers the first systematic exploration of the close relationship among improvisation, music theory and practical musicianship from late Renaissance into the Baroque era. It is not a historical survey per se, but rather aims to re-establish the importance of such a combination as a pedagogical tool for a better understanding of the musical idioms of these periods. The authors are concerned with the transferral of historical practices to the modern classroom, discussing new ways of revitalising the study and appreciation of early music. The relevance and utility of such an improvisation-based approach also changes our understanding of the balance between theoretical and practical sources in the primary literature, as well as the concept of music theory itself. | |
| 588 | 0 | |a Description based on online resource; title from PDF title page (EBSCO, viewed January 11, 2017) | |
| 650 | 0 | |a Improvisation (Music) |x History. | |
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| 655 | 7 | |a History. |2 fast |0 (OCoLC)fst01411628. | |
| 700 | 1 | |a Guido, Massimiliano, |e editor. |0 http://id.loc.gov/authorities/names/nb2009005381 |1 http://isni.org/isni/0000000072518942. | |
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