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.
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.
Massimiliano Guido is a Senior Researcher at the Department of Musicology and Cultural Heritage of Pavia University, Italy, where he teaches courses in history of music theory and history of musical instruments. Previously he served as a Banting Post-Doctoral Fellow at the Schulich School of Music, McGill University, Canada, working with Peter Schubert on a project about the art of memory at the keyboard as a tool for teaching counterpoint (2012-14). He was the principal investigator of the research project Improvisation in Classical Music Education: Rethinking our Future by Learning our Past, funded by the Social Sciences and Humanities Research Council of Canada (2013-14). He holds degrees in musicology (Pavia Univ. Doctorate and Laurea, Göteborg Univ. Master of Music Research), organ (Parma Conservatory, Italy), and harpsichord (Como Conservatory, Italy). He combines musicological research with organ teaching and performance.
Inhaltsangabe
Preface Introduction part I 'con la mente e con le mani': Music and the art of memory 1 The Improvisatory Moment Thomas Christensen 2 Musical Inventio, Rhetorical Loci, and the Art of Memory Stefano Lorenzetti 3 Climbing the Stairs of the Memory Palace: Gestures at the Keyboard for a Flexible Mind Massimiliano Guido part II Improvising vocal Music 4 Towards a Stylistic History of 'Cantare super Librum' Philippe Canguilhem 5 Contrapunto and Fabordón: Practices of Extempore Polyphony in Renaissance Spain Giuseppe Fiorentino 6 Discovering the Practice of Improvised Counterpoint Jean-Yves Haymoz part III Improvising Keyboard Music 7 Composing at the Keyboard: Banchieri and Spiridion, Two Complementary Methods Edoardo Bellotti 8 Partimento Teaching According to Francesco Durante, Investigated Through the Earliest Manuscript Sources Peter van Tour 9 Partimento and Incomplete Notations in Eighteenth-Century Keyboard Music Giorgio Sanguinetti part IV Nova et vetera: Pedagogy 10 Teaching Theory Through Improvisation Peter Schubert 11 Learning Tonal Counterpoint Through Keyboard Improvisation in the Twenty-First Century Michael R. Callahan Bibliography Index
Preface Introduction part I 'con la mente e con le mani': Music and the art of memory 1 The Improvisatory Moment Thomas Christensen 2 Musical Inventio, Rhetorical Loci, and the Art of Memory Stefano Lorenzetti 3 Climbing the Stairs of the Memory Palace: Gestures at the Keyboard for a Flexible Mind Massimiliano Guido part II Improvising vocal Music 4 Towards a Stylistic History of 'Cantare super Librum' Philippe Canguilhem 5 Contrapunto and Fabordón: Practices of Extempore Polyphony in Renaissance Spain Giuseppe Fiorentino 6 Discovering the Practice of Improvised Counterpoint Jean-Yves Haymoz part III Improvising Keyboard Music 7 Composing at the Keyboard: Banchieri and Spiridion, Two Complementary Methods Edoardo Bellotti 8 Partimento Teaching According to Francesco Durante, Investigated Through the Earliest Manuscript Sources Peter van Tour 9 Partimento and Incomplete Notations in Eighteenth-Century Keyboard Music Giorgio Sanguinetti part IV Nova et vetera: Pedagogy 10 Teaching Theory Through Improvisation Peter Schubert 11 Learning Tonal Counterpoint Through Keyboard Improvisation in the Twenty-First Century Michael R. Callahan Bibliography Index
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