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Reconstructing the improvised keyboa...

Grazzini, Stephen C.

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Reconstructing the improvised keyboard prelude of the French baroque.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Reconstructing the improvised keyboard prelude of the French baroque./
作者:	Grazzini, Stephen C.
面頁冊數:	370 p.
附註:	Source: Dissertation Abstracts International, Volume: 76-03(E), Section: A.
Contained By:	Dissertation Abstracts International76-03A(E).
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3642529
ISBN:	9781321294750

Reconstructing the improvised keyboard prelude of the French baroque.
Grazzini, Stephen C.

Reconstructing the improvised keyboard prelude of the French baroque. - 370 p.

Source: Dissertation Abstracts International, Volume: 76-03(E), Section: A.

Thesis (Ph.D.)--Indiana University, 2014.

This item must not be sold to any third party vendors.

This analytical study interprets the French baroque keyboard prelude as an improvised practice. Chapters 1--3 introduce the topic, surveying the genre and its literature, and then advancing a rationale for interpreting written pieces as "model improvisations." Then Chapters 4--6, the analytical core of the study, take the "unmeasured preludes" of Louis Couperin, d'Anglebert, Le Roux, and others as models of the practice of improvised preluding. Working their way from foreground to background, these chapters describe the techniques of continuo realization and melodic embellishment, the thoroughbass formulas, and the strategies of formulaic composition on which the preludes rely. This part of the dissertation draws on Robert Gjerdingen's adaptation of "schema theory," and it relies extensively on the rich traditions of French diminution and continuo pedagogy. Continuing this trajectory, Chapter 7 steps back still further. Looking at the genre from a critical perspective, it asks how the preludes engage with historical concepts related to improvisation, such as freedom, spontaneity, and imagination. Here, adapting ideas from Edward T. Cone's "dramatistic" theory of musical performance, I take the written pieces to be "stagings" of improvisation. After examining some of the concepts associated with improvisation in the period, I argue that the preludes present a coherent view of improvised preluding as a process of exploration.

ISBN: 9781321294750Subjects--Topical Terms:

516178
Music.

Reconstructing the improvised keyboard prelude of the French baroque.
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520 $a This analytical study interprets the French baroque keyboard prelude as an improvised practice. Chapters 1--3 introduce the topic, surveying the genre and its literature, and then advancing a rationale for interpreting written pieces as "model improvisations." Then Chapters 4--6, the analytical core of the study, take the "unmeasured preludes" of Louis Couperin, d'Anglebert, Le Roux, and others as models of the practice of improvised preluding. Working their way from foreground to background, these chapters describe the techniques of continuo realization and melodic embellishment, the thoroughbass formulas, and the strategies of formulaic composition on which the preludes rely. This part of the dissertation draws on Robert Gjerdingen's adaptation of "schema theory," and it relies extensively on the rich traditions of French diminution and continuo pedagogy. Continuing this trajectory, Chapter 7 steps back still further. Looking at the genre from a critical perspective, it asks how the preludes engage with historical concepts related to improvisation, such as freedom, spontaneity, and imagination. Here, adapting ideas from Edward T. Cone's "dramatistic" theory of musical performance, I take the written pieces to be "stagings" of improvisation. After examining some of the concepts associated with improvisation in the period, I argue that the preludes present a coherent view of improvised preluding as a process of exploration.
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