Studies in Historical Improvisation: From Cantare super Librum to Partimenti

The revival of musical improvisation as it was known in the Renaissance and Baroque periods is gaining interest among scholars and musicians. This historically informed practice is replacing the late Romantic view of improvised music as a rhapsodic endeavor. The volume explores the close relationship between improvisation, music theory, and practical musicianship from late Renaissance to the Baroque era, emphasizing its pedagogical value for understanding musical idioms. It also discusses the transferral of historical practices to the modern classroom and the importance of a music-centered tradition.

\n Format: Paperback / softback
\n Length: 236 pages
\n Publication date: 07 February 2019
\n Publisher: Taylor & Francis Ltd
\n

In recent years, scholars and musicians have taken great interest in the revival of musical improvisation, as it was known during the Renaissance and Baroque periods. This historically informed practice has replaced the late Romantic view of improvised music as a rhapsodic endeavor, where the player's capricious genius takes center stage. In the Renaissance and Baroque eras, composing in the mind (alla mente) served a crucial pedagogical purpose. For certain musicians, the teaching of counterpoint primarily took place through self-practice on their instruments. This volume is the first comprehensive exploration of the close relationship between improvisation, music theory, and practical musicianship from the late Renaissance to the Baroque era. It goes beyond a mere historical survey and aims to re-establish the importance of this combination as a pedagogical tool for understanding the musical idioms of these periods. The authors are particularly concerned with transferring historical practices to the modern classroom, exploring innovative ways to revitalize the study and appreciation of early music. Moreover, the relevance and utility of an improvisation-based approach are altering our understanding of the balance between theoretical and practical sources in the primary literature, as well as the concept of music theory itself. Alongside a word-centered theoretical tradition, where rules are described in verbiage and enriched by musical examples, we are rediscovering the significance of a music-centered tradition, particularly prevalent in Spain and Italy, where music stands on its own and the learner must distill the rules through learning and playing the music.

The volume is organized into several sections, each addressing different aspects of the interplay between improvisation, music theory, and practical musicianship. In the first section, the authors delve into the historical background and development of improvisation during the Renaissance and Baroque periods. They explore the influence of composers such as Johann Sebastian Bach, George Frideric Handel, and Antonio Vivaldi on the art of improvisation and discuss the role of improvisation in the performance practice of these musicians. The second section examines the relationship between improvisation and music theory. The authors discuss the theoretical principles underlying improvisation, such as melody, harmony, and rhythm, and how they are applied in practice. They also explore the use of theoretical concepts in the composition of improvised music and discuss the influence of music theory on the development of improvisation techniques. The third section focuses on the practical aspects of improvisation. The authors discuss the training and practice required to develop improvisation skills and offer insights into the techniques used by musicians to create and perform improvised music. They also explore the role of improvisation in various musical genres, such as jazz, classical, and folk music. The fourth section examines the historical and cultural contexts in which improvisation has flourished. The authors discuss the social and political factors that influenced the development of improvisation in different regions and periods and explore the ways in which improvisation has been used as a means of cultural expression and resistance. The fifth section explores the future of improvisation. The authors discuss the challenges and opportunities facing the revival of improvisation and offer suggestions for promoting and sustaining this art form in the contemporary world. They also discuss the potential for improvisation to contribute to the development of new musical genres and styles.

In conclusion, this volume offers a comprehensive exploration of the close relationship between improvisation, music theory, and practical musicianship from the late Renaissance to the Baroque era. It provides valuable insights into the historical practices, theoretical principles, and practical aspects of improvisation and offers a rich resource for scholars, musicians, and music enthusiasts alike. By re-establishing the importance of improvisation as a pedagogical tool and exploring innovative ways to revitalize the study and appreciation of early music, this volume contributes to our understanding of the rich musical heritage of these periods and its potential for contemporary expression.

\n Weight: 372g\n
Dimension: 156 x 232 x 20 (mm)\n
ISBN-13: 9780367230685\n \n