Whose Score is it Anyway? Improvisation in the early 18th Century

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dc.contributor.author Stubbe, Sarah
dc.date.accessioned 2011-04-13T19:22:08Z
dc.date.available 2011-04-13T19:22:08Z
dc.date.issued 2011-04-01
dc.identifier.uri http://hdl.handle.net/10294/3263
dc.description.abstract Upon hearing the phrase “classical music”, most of us conjure up the image of a sprawling symphony, where many players are united in a single artistic vision – usually that of the composer’s. The score is strictly adhered to; hence, individual expression is somewhat stifled. In the late Baroque era and earlier, however, ensembles were comprised of a mere handful of players, an environment conducive to frequent improvisational flights of fancy. This presentation sheds light on the ways performers deviated from the notes on the page. First, different national styles of improvisation and ornamenting notes will be discussed, before examining how improvisation became increasingly suppressed through the 19th century. Can performers re-capture the spirit of Bach and Handel today? Audio examples of contrasting performances will be used to answer that question. en_US
dc.language.iso en en_US
dc.publisher University of Regina Graduate Students' Association en_US
dc.relation.ispartofseries Session 1.1 en_US
dc.subject Music en_US
dc.subject Baroque en_US
dc.subject Improvisation en_US
dc.title Whose Score is it Anyway? Improvisation in the early 18th Century en_US
dc.type Presentation en_US
dc.description.authorstatus Student en_US
dc.description.peerreview yes en_US


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