Author: Karen A. PetersPublisher:
ISBN:
Category : Composition (Music)
Languages : en
Pages : 288
Book Description
The Improvised Melodic Prelude in the Eighteenth Century
Author: Karen A. PetersPublisher:
ISBN:
Category : Composition (Music)
Languages : en
Pages : 288
Book Description
Improvising in Traditional 17th- and 18th-century Harmonic Style: Expanded use of the dominant-seventh chord and temporary modulation to the dominant ; The minor mode ; Three specialized chords: the supertonic six-five, the diminished seventh, and the Neopolitan sixth ; Harmonic sequences ; New considerations about melody ; Improvising two baroque dances ; The use of rhythmic motives ; The use of keyboard figuration and improvisation on a ground bass ; Introducing counterpoint and improvising a Bicinium ; Improvising a short prelude ; More advanced ways of introducing a hymn ; Improvising a chorale motet ; Improvising a short fugue ; Accompanying hymns ; Accompanying anthems
Author: John R. ShannonPublisher:
ISBN:
Category : Improvisation (Music)
Languages : en
Pages : 0
Book Description
The Pianist's Guide to Historic Improvisation
Author: John J. MortensenPublisher: Oxford University Press, USA
ISBN: 0190920394
Category : Music
Languages : en
Pages : 223
Book Description
"This book is for pianists who wish to improvise. Many will be experienced performers - perhaps even veteran concert artists - who are nevertheless beginners at improvisation. This contradiction is a reflection of our educational system. Those who attend collegiate music schools spend nearly all time and effort on learning, perfecting, and reciting masterpieces from the standard repertoire. As far as I can remember, no one ever taught or advocated for improvisation during my decade as a student in music schools. Certainly no one ever improvised anything substantial in a concert (except for the jazz musicians, who were, I regret to say, a separate division and generally viewed with complete indifference by the classical community). Nor did any history professor mention that, long ago, improvisation was commonplace and indeed an indispensable skill for much of the daily activity of a working musician. I continue to dedicate a portion of my career to "perfecting and reciting" masterpieces of the repertoire, and teaching my students to do the same. That tradition is dear to me. Still, if I have one regret about my traditional education, it's that it wasn't traditional enough. We have forgotten that in the eighteenth century - those hundred years that form the bedrock of classical music - improvisation was a foundation of music training. Oddly, our discipline has discarded a practice that helped bring it into being. Perhaps it is time to retrieve it from the junk heap of history and give it a good dusting off. I love the legends of the improvisational powers of the masters: Bach creating elaborate fugues on the spot, or Beethoven humiliating Daniel Steibelt by riffing upon and thereby exposing the weakness of the latter's inferior tunes. The stories implied that these abilities were instances of inexplicable genius which we could admire in slack-jawed wonder but never emulate. But that isn't right. Bach could improvise fugues not because he was unique but because almost any properly-trained keyboard player in his day could. Even mediocre talents could improvise mediocre fugues. Bach was exceptionally good at something which pretty much everyone could do at a passable level. They could all do it because it was built into their musical thinking from the very beginning of their training"--
Musical Improvisation and Open Forms in the Age of Beethoven
Author: Gianmario BorioPublisher: Routledge
ISBN: 1315406365
Category : Music
Languages : en
Pages : 389
Book Description
Improvisation was a crucial aspect of musical life in Europe from the late eighteenth century through to the middle of the nineteenth, representing a central moment in both public occasions and the private lives of many artists. Composers dedicated themselves to this practice at length while formulating the musical ideas later found at the core of their published works; improvisation was thus closely linked to composition itself. The full extent of this relation can be inferred from both private documents and reviews of concerts featuring improvisations, while these texts also inform us that composers quite often performed in public as both improvisers and interpreters of pieces written by themselves or others. Improvisations presented in concert were distinguished by a remarkable degree of structural organisation and complexity, demonstrating performers’ consolidated abilities in composition as well as their familiarity with the rules for improvising outlined by theoreticians.
Eighteenth-Century Keyboard Music
Author: Robert MarshallPublisher: Routledge
ISBN: 1135887756
Category : Music
Languages : en
Pages : 431
Book Description
First published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.
Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries
Author: Robin StowellPublisher: Cambridge University Press
ISBN: 9780521397445
Category : Music
Languages : en
Pages : 436
Book Description
This volume examines in detail the numerous violin treatises of the late- 18th and early-19th centuries. It provides an historical and technical guide to violin pedagogical method, technique and performance practice during this period.
A Comparative Study of Solo Improvisation on the Transverse Flute in Select Musical Cultures (European Renaissance and Baroque, North Indian Raga, Korean Sanjo, and African-American Jazz)
Author: Alissa RoedigEssays on Music and Culture in Honor of Herbert Kellman
Author: Herbert KellmanPublisher:
ISBN:
Category : Music
Languages : en
Pages : 618
Book Description
Figure marquante de la musicologie de la Renaissance, Herbert Kellman est principalement connu pour ses travaux sur le 'Codex Chigi' et pour son edition du Census Catalogue of Manuscript Sources of Polyphonic Music, 1400-1550. Il enseigne l'Histoire de la musique a l'Universite d'Illinois, Urbana-Champaign (USA), de 1966 a 2000. Ce livre est un hommage rendu au professeur, au collegue par ses etudiants et amis a l'occasion de son soixante-dixieme anniversaire.
The Improvising Mind
Author: Aaron BerkowitzPublisher: Oxford University Press
ISBN: 0199590958
Category : Language Arts & Disciplines
Languages : en
Pages : 233
Book Description
The ability to improvise represents one of the highest levels of musical achievement. Yet what musical knowledge is 3equired for improvisation? How does a musician learn to improvise? What are the neural correlates of improvised performance? These are some of the questions explored in this unique and fascinating new book.
The Solfeggio Tradition
Author: Nicholas BaragwanathPublisher: Oxford University Press, USA
ISBN: 0197514081
Category : Music
Languages : en
Pages : 433
Book Description
In this first-ever book on the solfeggio tradition, one of the pillars of eighteenth-century music education, author Nicholas Baragwanath illuminates how performers and composers developed their exceptional skills in improvising and inventing melodies.