Improvisation on Chordal Instruments in 17th-Century Italy

17 世纪意大利和弦乐器的即兴创作

• 批准号: AH/E005675/1
• 负责人: Paula Chateauneuf
• 金额: $ 28.84万
• 依托单位: University of Birmingham
• 依托单位国家: 英国
• 项目类别: Fellowship
• 财政年份: 2007
• 资助国家: 英国
• 起止时间: 2007 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FE005675%2F1
• 关键词: Improvisation; Chordal; Instruments; 17th; Century

Since the 1920s there has been a fascination with pre-classical music; in recent decades 'early music' has become incredibly popular, with historically-informed performances on reconstructed instruments from earlier times. Much pre-classical music left to us is more a sketch than a literal text, not unlike the simple way a jazz tune is written down today; like jazz performers, musicians of old would have been well-versed in improvisational techniques, enabling them to take the sketch and turn it into a personal and inventive performance. While there are 16th- and 17th-century theoretical treatises left to us, there is still much to be understood about extemporization at that time; in comparison with the sophisticated extemporization of musicians in the past, present-day early musicians only scratch the surface.My research project aims to revive the neglected art of improvising in 17th-century styles and re-establish it as an integral part of performing this music, creating musical experiences which involve the public in the breathtaking excitement generated by the creation of music on the spot. This would add a unique and more informal dimension to classical music concerts, and present new, exhilarating challenges to early musicians. Various types of early extemporisation, particularly on chordal instruments, will be investigated: basso continuo (a system of accompaniment written in sketch form), ensemble improvisation, and techniques for improvising toccatas and preludes (genres which involved improvisation). Historical treatises, didactic material and documentary evidence will be reviewed, but I will also examine many of the practical clues in the music itself such as accompanimental fragments, parts used by players in performance, and pieces that imitate improvising techniques. These practical sources, when viewed by an experienced performer like myself, can provide insight into the music not always gleaned through more traditional research. I shall undertake this fellowship at the University of Birmingham, where I am a part-time Visiting Lute Tutor for its Centre for Early Music Performance and Research. The unique Gloria Rose Collection of important research materials on 17th-century improvising ensembles and basso continuo was bequeathed to the University; my aim is to carry on Rose's unfinished research.The outcomes of my research will be both practical and scholarly. I will create an innovative ensemble, essentially an 'early music big band' dedicated to experimentation, performance and promotion of the art of historically-informed extemporization. The ensemble will hone its skills through regular rehearsals; performances will be linked to workshops where students will benefit from learning with seasoned professionals. I shall launch a concert series (linked with workshops) including both instrumental and vocal music, with chordal improvisation in 17th-century Italy as its theme. London's South Bank Centre, amongst others, has already expressed an interest in presenting my improvising ensemble in a space being established there to showcase less formal performance styles of pre-classical music. I aim to write and publish a much-needed manual for both early music students and professionals; presented in workbook form, it will take a player systematically through 16th- and 17th-century improvisation styles, practical Renaissance theory and group extemporization using graded musical examples from the time. I will use and test the practical educational techniques, exercises and examples I find in my research to provide my students with a broader foundation of knowledge and produce more confident and independent performers and researchers who will see improvisation as an exciting and important part of their music making. My research findings will be disseminated through the manual, the publication of articles, CDs' and lecture-demonstrations.

自20世纪20年代以来，人们一直对前古典音乐着迷;近几十年来，“早期音乐”变得非常流行，在早期重建的乐器上进行历史性的表演。留给我们的许多前古典音乐更多的是一个草图而不是文字，与今天爵士乐曲调的简单写法没有什么不同;像爵士乐表演者一样，古代音乐家精通即兴技巧，使他们能够将草图变成个人和创造性的表演。虽然有16和17世纪的理论论文留给我们，仍然有很多要了解的即兴在那个时候;与过去音乐家的即兴演奏相比，今天的早期音乐家只是触及了表面。我的研究项目旨在复兴17世纪风格中被忽视的即兴艺术，并重新建立它作为表演这种音乐的一个组成部分，创造音乐体验，让公众参与现场音乐创作所产生的激动人心的兴奋。这将为古典音乐会增加一个独特的和更非正式的层面，并提出新的，令人振奋的挑战，早期的音乐家。各种类型的早期即兴演奏，特别是和弦乐器，将被调查：连续低音（以素描形式编写的伴奏系统），合奏即兴，即兴托卡塔和前奏曲的技巧（涉及即兴创作的流派）。我将回顾历史论文、教学材料和文献证据，但我也将研究音乐本身的许多实际线索，如音乐片段、演奏者在演奏中使用的部分，以及模仿即兴演奏技巧的作品。这些实际的来源，当被像我这样有经验的表演者观看时，可以提供对音乐的洞察力，而这些洞察力并不总是通过更传统的研究来收集的。我将在伯明翰大学接受这项奖学金，在那里我是一个兼职的访问琵琶导师为中心的早期音乐表演和研究。格洛丽亚罗斯收藏了关于17世纪即兴合奏和连续低音的重要研究资料，我的目标是继续罗斯未完成的研究。我的研究成果将是实用和学术性的。我将创建一个创新的合奏，基本上是一个“早期音乐大乐队”，致力于实验，表演和促进艺术的历史知情即兴。乐团将通过定期排练磨练技能;表演将与研讨会联系起来，学生将从与经验丰富的专业人士的学习中受益。我将推出一个音乐会系列（与工作坊相联系），包括器乐和声乐，以17世纪意大利的和弦即兴为主题。伦敦的南岸中心，除其他外，已经表示有兴趣在那里建立的一个空间展示我的即兴合奏，以展示前古典音乐的不太正式的表演风格。我的目标是为早期音乐学生和专业人士编写和出版一本急需的手册;以练习册的形式呈现，它将系统地介绍16世纪和17世纪的即兴创作风格，实用的文艺复兴理论和使用当时分级音乐示例的团体即兴演奏。我将使用和测试我在研究中发现的实用教育技术，练习和例子，为我的学生提供更广泛的知识基础，并培养更自信和独立的表演者和研究人员，他们将即兴创作视为他们音乐创作中令人兴奋和重要的一部分。我的研究成果将通过手册、文章出版物、光盘和演示演讲传播。