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oapen-20.500.12657-414562020-12-23T13:37:59Z Das flüchtige Werk Lehner, Michael Meidhof, Nathalie Miucci, Leonardo Allenbach, Daniel improvisation Beethoven historical performance practice music theory musical analysis bic Book Industry Communication::A The arts::AV Music::AVA Theory of music & musicology The goal of this volume is to examine and describe the manifold improvisational culture around 1800. Therefore, different viewpoints are brought together, the focus lies, besides traditional source analysis, on methods and approaches of historical performance practice und historically informed music theory. What were the different esthetical viewpoints on pianistic improvisation? What were the standard models and conventional designs of improvised piano music of that time? How was improvisation taught? How can the conflict between generic approaches and the ideal of unmistakable individuality of the performer be described? Therefore, a variety of sources is examined by the contributors to this volume: italian partimenti, composed music that is guided by improvisational thinking (like Fantasia and Capriccio) textbooks, teaching documents, concert reports etc.. Besides the outstanding significance of Beethoven as improviser (already noted and admired by his contemporaries), this anthology tries to give a fuller picture by sheding light on then well-known figures like Ciacomo Tritto, Carl Czerny, Joseph Preindl, Joseph Lipavsky, Justin Heinrich Knecht and others. 2020-08-25T12:14:11Z 2020-08-25T12:14:11Z 2019 book ONIX_20200825_9783931264925_26 https://library.oapen.org/handle/20.500.12657/41456 ger Musikforschung der Hochschule der Künste Bern application/pdf Attribution-NonCommercial 4.0 International 9783931264925.pdf http://www.editionargus.de/pd1554990484.htm?categoryId=9 Edition Argus 10.26045/kp64-6176 The goal of this volume is to examine and describe the manifold improvisational culture around 1800. Therefore, different viewpoints are brought together, the focus lies, besides traditional source analysis, on methods and approaches of historical performance practice und historically informed music theory. What were the different esthetical viewpoints on pianistic improvisation? What were the standard models and conventional designs of improvised piano music of that time? How was improvisation taught? How can the conflict between generic approaches and the ideal of unmistakable individuality of the performer be described? Therefore, a variety of sources is examined by the contributors to this volume: italian partimenti, composed music that is guided by improvisational thinking (like Fantasia and Capriccio) textbooks, teaching documents, concert reports etc.. Besides the outstanding significance of Beethoven as improviser (already noted and admired by his contemporaries), this anthology tries to give a fuller picture by sheding light on then well-known figures like Ciacomo Tritto, Carl Czerny, Joseph Preindl, Joseph Lipavsky, Justin Heinrich Knecht and others. 10.26045/kp64-6176 f0e9b94d-f8cd-4412-ab90-80124c2e28b5 07f61e34-5b96-49f0-9860-c87dd8228f26 Swiss National Science Foundation (SNF) 12 Schliengen 10BP12_187205 Open Access Books Das flüchtige Werk. Pianistische Improvisation der Beethoven-Zeit Schweizerischer Nationalfonds zur Förderung der Wissenschaftlichen Forschung Swiss National Science Foundation open access
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The goal of this volume is to examine and describe the manifold improvisational culture around 1800. Therefore, different viewpoints are brought together, the focus lies, besides traditional source analysis, on methods and approaches of historical performance practice und historically informed music theory. What were the different esthetical viewpoints on pianistic improvisation? What were the standard models and conventional designs of improvised piano music of that time? How was improvisation taught? How can the conflict between generic approaches and the ideal of unmistakable individuality of the performer be described? Therefore, a variety of sources is examined by the contributors to this volume: italian partimenti, composed music that is guided by improvisational thinking (like Fantasia and Capriccio) textbooks, teaching documents, concert reports etc.. Besides the outstanding significance of Beethoven as improviser (already noted and admired by his contemporaries), this anthology tries to give a fuller picture by sheding light on then well-known figures like Ciacomo Tritto, Carl Czerny, Joseph Preindl, Joseph Lipavsky, Justin Heinrich Knecht and others.
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