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oapen-20.500.12657-520202021-12-15T09:32:14Z The Routledge Handbook of Philosophy and Improvisation in the Arts Bertinetto, Alessandro Ruta, Marcello Philosophy, Ontology, Music, Improvisation, Arts, Performance bic Book Industry Communication::H Humanities::HP Philosophy The idea of improvisation, broadly defined, has been integral to our imagination of the medieval musical past. It can be related to many elements of production: to the act of un-notated creation; to the manipulation and amplification of notated materials; to our observance of rigid rules and formulae; or to spontaneous freedom. Likely a product of the Carolingian Renaissance, this is the first medieval music treatise to address an aspect of chant performance that does not only relate to a memorized repertoire, but includes an unwritten practice of extemporizing an accompanying voice to a pre-given melody. The art of “coloration” or the ornamentation of a line, whether polyphonic or monophonic, had been an integral part of extemporization since at least the time of the Ad organum faciendum treatises. When planning author's ontological inquiries, the author's would do well to remember the possible existence of creativity that is not inspired, or ephemerality that is not performer- or expression-centered. 2021-12-15T08:59:00Z 2021-12-15T08:59:00Z 2021 book 9780367203641 9781032016498 9781003179443 https://library.oapen.org/handle/20.500.12657/52020 eng Taylor & Francis Routledge 10.4324/9781003179443 10.4324/9781003179443 7b3c7b10-5b1e-40b3-860e-c6dd5197f0bb 3ca142a4-68c9-4186-80c5-2b74417278a1 03517485-ee54-4d54-8643-b55012c61198 840a3001-0b36-4d14-9f13-ee7618a47435 f09f73ee-9f87-41de-90f4-e7eac15a5b25 0c360db2-dbb4-4ebf-904e-c52b664570e0 9780367203641 9781032016498 9781003179443 Routledge open access
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The idea of improvisation, broadly defined, has been integral to our imagination of the medieval musical past. It can be related to many elements of production: to the act of un-notated creation; to the manipulation and amplification of notated materials; to our observance of rigid rules and formulae; or to spontaneous freedom. Likely a product of the Carolingian Renaissance, this is the first medieval music treatise to address an aspect of chant performance that does not only relate to a memorized repertoire, but includes an unwritten practice of extemporizing an accompanying voice to a pre-given melody. The art of “coloration” or the ornamentation of a line, whether polyphonic or monophonic, had been an integral part of extemporization since at least the time of the Ad organum faciendum treatises. When planning author's ontological inquiries, the author's would do well to remember the possible existence of creativity that is not inspired, or ephemerality that is not performer- or expression-centered.
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