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This book is about music improvisation. It forges exciting and provocative new links between a range of theories and practices in texts that explore topics as varied as object-oriented ontology, game theory, ethical responsibility and breath. In improvisatory fashion, this book has been edited so that it weaves the texts amongst each other, subversively inserting a tactile piece of text - a text interlaced, as a woven cloth, among the contributing authors. The writings in this volume are...

Improvisation (Music) --- Extemporization (Music) --- Music --- Performance

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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.

Improvisation (Music) --- Extemporization (Music) --- Music --- History. --- Performance --- History

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The first history of keyboard improvisation in European music in the postclassical and romantic periods, Free Play: Fantasies of Improvisation in Nineteenth-Century Music documents practices of improvisation on the piano and the organ, with a particular emphasis on free fantasies and other forms of free playing. Case studies of performers such as Abbé Vogler, J. N. Hummel, Ignaz Moscheles, Robert Schumann, Carl Loewe, and Franz Liszt describe in detail the motives, intentions, and musical styles of the nineteenth century's leading improvisers. Grounded in primary sources, the book further discusses the reception and valuation of improvisational performances by colleagues, audiences, and critics, which prompted many keyboardists to stop improvising. Author Dana Gooley argues that amidst the decline of improvisational practices in the first half of the nineteenth century there emerged a strong and influential "idea" of improvisation as an ideal or perfect performance. This idea, spawned and nourished by romanticism, preserved the aesthetic, social, and ethical values associated with improvisation, calling into question the supposed triumph of the "work."

Improvisation (Music) --- Extemporization (Music) --- History --- Music --- Performance --- improvisatie --- muziek --- muziekgeschiedenis --- anno 1800-1899 --- History.

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Creative practice in music takes place in a distributed and interactive manner embracing the activities of composers, performers and improvisers-despite the sharp division of labour between these roles that traditional concert culture often presents. Two distinctive features of contemporary music are the greater incorporation of improvisation and the development of integrated and collaborative working practices between composers and performers. By blurring the distinction between composition and performance, improvisation and collaboration provide important perspectives on the distributed creative processes that play a central role in much contemporary concert music. This volume explores how collaboration and improvisation enable and constrain these creative processes.

Composition (Music) --- Improvisation (Music) --- Music --- Extemporization (Music) --- Collaborative composition (Music) --- Artistic collaboration --- Collaboration --- History and criticism --- Performance

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Hear, Listen, Play! is a book for all music teachers who are unfamiliar with, yet curious about the worlds of ear-playing, informal learning, improvisation, and vernacular musics. For decades, or even hundreds of years, a divide has slowly been developing between the realms of notation-based musical transmission, and aural/oral methods. Yet that divide is by no means a necessary aspect of music learning, and musicians who are lucky enough to dwell on both sides of it count themselves as so much the richer for doing so. This book aims to provide a door into those other worlds for any teacher wh

Music --- Improvisation (Music) --- Extemporization (Music) --- Education, Musical --- Music education --- Musical education --- Musical instruction --- Instruction and study. --- Performance --- Study and teaching