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dc.contributor.authorEggers, Katrin
dc.contributor.authorLehner, Michael
dc.date.accessioned2021-12-16T04:00:21Z
dc.date.available2021-12-16T04:00:21Z
dc.date.issued2021
dc.date.submitted2021-12-15T09:17:45Z
dc.identifierhttps://library.oapen.org/handle/20.500.12657/52022
dc.identifier.urihttps://directory.doabooks.org/handle/20.500.12854/74962
dc.description.abstractThe 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.
dc.languageEnglish
dc.rightsopen access
dc.subject.classificationbic Book Industry Communication::H Humanities::HP Philosophy
dc.subject.otherPhilosophy, Ontology, Music, Improvisation, Arts, Performance
dc.titleChapter 24 Freedom and Form in Piano Improvisation in the Early 19th Century
dc.typechapter
oapen.identifier.doi10.4324/9781003179443-28
oapen.relation.isPublishedByfa69b019-f4ee-4979-8d42-c6b6c476b5f0
oapen.relation.isPartOfBookdac0e6b5-d521-420a-bf20-865d9ac47ad1
oapen.relation.isbn9780367203641
oapen.relation.isbn9781032016498
oapen.imprintRoutledge
oapen.pages13


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