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Reconstructing the improvised keyboa...

Grazzini, Stephen C.

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Reconstructing the improvised keyboard prelude of the French baroque.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Reconstructing the improvised keyboard prelude of the French baroque./
Author:	Grazzini, Stephen C.
Description:	370 p.
Notes:	Source: Dissertation Abstracts International, Volume: 76-03(E), Section: A.
Contained By:	Dissertation Abstracts International76-03A(E).
Subject:	Music. -
Online resource:	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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100 1 $a Grazzini, Stephen C. $3 3175575
245 1 0 $a Reconstructing the improvised keyboard prelude of the French baroque.
300 $a 370 p.
500 $a Source: Dissertation Abstracts International, Volume: 76-03(E), Section: A.
500 $a Adviser: Frank Samarotto.
502 $a Thesis (Ph.D.)--Indiana University, 2014.
506 $a This item must not be sold to any third party vendors.
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.
590 $a School code: 0093.
650 4 $a Music. $3 516178
650 4 $a Music education. $3 3168367
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710 2 $a Indiana University. $b Music Theory. $3 3168619
773 0 $t Dissertation Abstracts International $g 76-03A(E).
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791 $a Ph.D.
792 $a 2014
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3642529