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Books > Arts & Architecture > Music > Western music, periods & styles > Baroque music (c 1600 to c 1750)
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Studies in Historical Improvisation - From Cantare super Librum to Partimenti (Paperback)
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Studies in Historical Improvisation - From Cantare super Librum to Partimenti (Paperback)
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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.
Alongside a word-centred theoretical tradition, in which rules are
described in verbiage and enriched by musical examples, we are
rediscovering the importance of a music-centred tradition,
especially in Spain and Italy, where the music stands alone and the
learner must distil the rules by learning and playing the music.
Throughout its various sections, the volume explores the path of
improvisation from theory to practice and back again.
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