Chapter 24 Freedom and Form in Piano Improvisation in the Early 19th Century
Eggers, Katrin
Chapter 24 Freedom and Form in Piano Improvisation in the Early 19th Century - Taylor & Francis 2021 - 1 electronic resource (13 p.)
Open Access
The idea of improvisation, broadly defined, has been integral to our imagination of the medieval musical past. It can be related to many elements of production: to the act of un-notated creation; to the manipulation and amplification of notated materials; to our observance of rigid rules and formulae; or to spontaneous freedom. Likely a product of the Carolingian Renaissance, this is the first medieval music treatise to address an aspect of chant performance that does not only relate to a memorized repertoire, but includes an unwritten practice of extemporizing an accompanying voice to a pre-given melody. The art of “coloration” or the ornamentation of a line, whether polyphonic or monophonic, had been an integral part of extemporization since at least the time of the Ad organum faciendum treatises. When planning author's ontological inquiries, the author's would do well to remember the possible existence of creativity that is not inspired, or ephemerality that is not performer- or expression-centered.
Creative Commons
English
9781003179443-28 9780367203641 9781032016498
10.4324/9781003179443-28 doi
Philosophy
Philosophy, Ontology, Music, Improvisation, Arts, Performance
Chapter 24 Freedom and Form in Piano Improvisation in the Early 19th Century - Taylor & Francis 2021 - 1 electronic resource (13 p.)
Open Access
The idea of improvisation, broadly defined, has been integral to our imagination of the medieval musical past. It can be related to many elements of production: to the act of un-notated creation; to the manipulation and amplification of notated materials; to our observance of rigid rules and formulae; or to spontaneous freedom. Likely a product of the Carolingian Renaissance, this is the first medieval music treatise to address an aspect of chant performance that does not only relate to a memorized repertoire, but includes an unwritten practice of extemporizing an accompanying voice to a pre-given melody. The art of “coloration” or the ornamentation of a line, whether polyphonic or monophonic, had been an integral part of extemporization since at least the time of the Ad organum faciendum treatises. When planning author's ontological inquiries, the author's would do well to remember the possible existence of creativity that is not inspired, or ephemerality that is not performer- or expression-centered.
Creative Commons
English
9781003179443-28 9780367203641 9781032016498
10.4324/9781003179443-28 doi
Philosophy
Philosophy, Ontology, Music, Improvisation, Arts, Performance