Imagination, form, movement and sound: studies in musical improvisation
Saved in:
| Main Author: | |
|---|---|
| Format: | Thesis Book |
| Language: | English |
| Published: |
Gothenburg
Univ. of Gothenburg, Academy of Music and Drama, Faculty of Fine, Applied and Performing Arts
2008
|
| Series: | Art monitor
|
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Physical Description: | XII, 312 S. Ill., Notenbeisp. 4 CDs (12 cm) |
| ISBN: | 9789197591188 |
Staff View
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Record in the Search Index
| _version_ | 1804138357957066752 |
|---|---|
| adam_text | Table
of contents
CONTENTS OF THE CDS: THREE RECORDING PROJECTS
1
1.
Historically inspired organ improvisations in
Haga
Church,
Gothenburg
1
2.
Improvisations at the organs in
Slagen
and
Eik
churches,
Tansberg
3
3.
Ensemble-improvisation in
Vasa
Church, Gothenburg
4
ACKNOWLEDGEMENTS
6
PRELIMINARIES
9
Chapter
1 -
Introduction
10
Previous researches into organ improvisation
12
Karin
Johansson
-
pedagogic approaches to organ
improvisation
14
Ernst Ferand
-
pioneering researcher
14
Artistic research
15
Chapter
2 -
Approaches to the term improvisation
17
Improvisation and composition
-
two classical archetypes
17
Artefacts and idioms
18
Links with other art forms
19
Two definitions
20
Chapter
3 -
Theoretical perspectives
22
A basic theoretical approach
23
Paul Ricoeur s ideas of approaches to history
25
Methodological considerations
27
PART i: THE ART OF ORGAN IMPROVISATION AS
PERCEIVED BY DIFFERENT SOURCES THROUGH
THE AGES
35
Chronology versus phenomenology
35
Chapter
4 -
Historical contexts
36
The vertical and the horizontal dimension
37
Chapter
5 -
Earliest sources
39
Early textbooks for keyboard musicians
41
Chapter
6 -
Three masters of the late Gothic and
Renaissance
44
Conrad Paumann
44
Paumann s teaching materials
46
Johannes (Hans)
Büchner 53
Tomas de
Sancta Maria:
Libro llamado
arte de
tañer
fantasia
58
Chapter
7 -
General
features of Baroque improvisation
and its teaching in Germany
60
Improvisation
-
a central element in organist-trials
60
Chapter
8 -
A
1
9th century view of improvisation and
organ playing
65
Between the creative and interpretive aspects
65
Three major
1
9th century improvisers:
67
Chapter
9 -
French traditions of organ improvisation
69
César
Franek
and
Aristide Cavaillé-Coll
69
Liturgical organ playing in the mid-19th century
69
Liturgical playing emphasises improvisation
71
Training conditions, auditions and the discipline of music
competitions
72
Features of a conservatoire tradition
73
Chapter
10 -
César
Franek
-
interpreter,
improviser
and teacher
77
César Franck as
professor of organ playing at the Paris
Conservatoire
80
Pater Seraphicus
82
Chapter
11 -
Catholic traditions of liturgical organ
improvisation in
1
9th century Austria and Germany
94
Roman Catholic practices outlined
94
A German church organ textbook details the duties of
Catholic organists
96
Chapter
12 -
Anton Bruckner: composer and legendary
organ
improviser
104
Bruckner as a church musician
105
Bruckner s organ improvisation
106
An improvisation outlined
108
Some common recollections
11
1
The route to improvisation
113
Chapter
13 -
Protestant traditions of organ playing and
chorale improvisation
116
Hymnological and liturgical background
116
Three musicologists and their contribution
11 7
Church music linked to practical theological studies
119
Chapter
14 -
A leading organist,
improviser
and teacher
121
Characteristics of Herzog s liturgical organ playing
123
The Bach-succession
125
The music scholar
Johann
Georg Herzog 126
Herzog s own musical preferences
127
Chapter
15 -
An important textbook in church organ
playing
130
Johann
Georg
Herzog s
Orgelschule 130
1.
Principles for chorale-playing
132
2.
Choral preludes and pieces of a free character
137
3.
Liturgical accompaniment
145
Chapter
16 -
Recording project V. A 19th Century
Christmas Service
148
A creative understanding of music history
148
Historically inspired organ improvisations in
Haga
Church,
Gothenburg
150
Chapter
17 -
A collection of examples for improvisation
153
Musical craftsmanship
-
a common denominator for
1
9th
century musicians
155
Chapter
18 -
20th century tradition bearers
158
Heinz
Wunderlich 158
RuthZechlin
161
Rolande
Falcinelli
164
Olivier Latry
167
European organ improvisation traditions illustrated by two
20th century textbooks
170
PART
2:
THE ART OF IMPROVISATION AS A STYLISTIC,
AESTHETIC AND PROCEDURAL PHENOMENON
1 73
Chapter
19 -
Style and aesthetic
174
Improvisation
-
craftsmanship, art or kitsch?
174
Two main directions
175
Two newspaper reviews
178
20th century culture
-
a powerful catalyst
179
Improvisation
-
the aesthetic of the moment
182
The expression style as a subject to be studied
187
A plan for the study of organ improvisation
190
Chapter
20 -
Understanding the processes
Early
1
9th century and early
21
st century thoughts on
. ■ .· 194
improvisation
A process based on dilemmas 196
1.
Musical improvisation as an activity based on rules
■1
QQ
and systems
A distinction between composition and improvisation
200
Cognitive and motor models for explaining improvised
actions
202
Improvisation in the light of specialised skills
207
Basis of knowledge 209
About referents
209
Conscious systemisation of the elements of knowledge
211
2.
Improvisation as an interplay between intuitive and
logical-analytical factors
213
Keith Swanwick
-
about the formation of musical
expressions
215
3.
Creative actions in the light of cross-modal experiences
216
■
Cross-modal theory
219
4.
Skills which originate from imitation and study with
a master
225
Procedural goals of knowledge
227
Chapter
21 -
A model for learning
229
Developing a vocabulary for improvisation linked to
movements
229
A mode! for learning of movements
232
A model for the control of movements
233
About chunking in improvisation
234
Historic instructions for learning improvisation s
vocabulary
235
How is a technique for improvisation created?
237
Chapter
22 -
Studying harmony and counterpoint
in improvisation
241
Harmonic awareness
241
Learning contrapuntal techniques
242
Chapter
23
-Two Recording projects
244
Recording project
2:
Contrasts on an historic ground
245
Henri
Bergson
-
a philosophical inspiration for the
recording
245
Kaleidoscopic organ sounds
246
Improvisations at the organs In
Slagen
and
Eik
churches,
Tonsberg 248
Det var en
gang
en dronning...
249
( Once there was a queen.
.. )
249
Commentary on the Recording 250
Recording project
3:
A Concert Mass
-
Missa
sacra
et profana
253
Dietrich Bonhoeffer
-
a theological inspiration for a
recording project
253
The fragmentary and paradoxical as an esthetical idea
255
Ensemble-improvisation in
Vasa
Church, Gothenburg
258
The Roman Catholic Mass for Easter day
259
POSTLUDE
263
Sketches for a conclusion
-
a possible approach to further
creative improvisation research
263
Chapter
24 -
Summary reflections
264
Aspects of Teaching
266
Aspects for further investigation
267
APPENDICES
269
The function of the organ in
1
9th century
Evangelical Lutheran services
270
A description of Louis Vierne s improvisations
and teaching
272
Improvisation taught by Louis Vierne
-
his
approach to
harmonisation
and development
of
a thème libre
273
Adalbert Lindner describes Reger s art of
improvisation in his youth in
Weiden
280
Reger s improvisation at concerts in Kolberg
281
Reger
on the subject of
fugai
improvisation
283
Some facts about the Performers on the
Recording projects
284
Organs used for the Recording projects
287
LITERARY SOURCES
291
MUSIC SOURCES
301
INDEX OF NAMES
305
|
| adam_txt |
Table
of contents
CONTENTS OF THE CDS: THREE RECORDING PROJECTS
1
1.
Historically inspired organ improvisations in
Haga
Church,
Gothenburg
1
2.
Improvisations at the organs in
Slagen
and
Eik
churches,
Tansberg
3
3.
Ensemble-improvisation in
Vasa
Church, Gothenburg
4
ACKNOWLEDGEMENTS
6
PRELIMINARIES
9
Chapter
1 -
Introduction
10
Previous researches into organ improvisation
12
Karin
Johansson
-
pedagogic approaches to organ
improvisation
14
Ernst Ferand
-
pioneering researcher
14
Artistic research
15
Chapter
2 -
Approaches to the term "improvisation"
17
Improvisation and composition
-
two classical archetypes
17
Artefacts and idioms
18
Links with other art forms
19
Two definitions
20
Chapter
3 -
Theoretical perspectives
22
A basic theoretical approach
23
Paul Ricoeur's ideas of approaches to history
25
Methodological considerations
27
PART i: THE ART OF ORGAN IMPROVISATION AS
PERCEIVED BY DIFFERENT SOURCES THROUGH
THE AGES
35
Chronology versus phenomenology
35
Chapter
4 -
Historical contexts
36
The vertical and the horizontal dimension
37
Chapter
5 -
Earliest sources
39
Early textbooks for keyboard musicians
41
Chapter
6 -
Three masters of the late Gothic and
Renaissance
44
Conrad Paumann
44
Paumann's teaching materials
46
Johannes (Hans)
Büchner 53
Tomas de
Sancta Maria:
Libro llamado
arte de
tañer
fantasia
58
Chapter
7 -
General
features of Baroque improvisation
and its teaching in Germany
60
Improvisation
-
a central element in organist-trials
60
Chapter
8 -
A
1
9th century view of improvisation and
organ playing
65
Between the creative and interpretive aspects
65
Three major
1
9th century improvisers:
67
Chapter
9 -
French traditions of organ improvisation
69
César
Franek
and
Aristide Cavaillé-Coll
69
Liturgical organ playing in the mid-19th century
69
Liturgical playing emphasises improvisation
71
Training conditions, auditions and the discipline of music
competitions
72
Features of a conservatoire tradition
73
Chapter
10 -
César
Franek
-
interpreter,
improviser
and teacher
77
César Franck as
professor of organ playing at the Paris
Conservatoire
80
"Pater Seraphicus"
82
Chapter
11 -
Catholic traditions of liturgical organ
improvisation in
1
9th century Austria and Germany
94
Roman Catholic practices outlined
94
A German church organ textbook details the duties of
Catholic organists
96
Chapter
12 -
Anton Bruckner: composer and legendary
organ
improviser
104
Bruckner as a church musician
105
Bruckner's organ improvisation
106
An improvisation outlined
108
Some common recollections
11
1
The route to improvisation
113
Chapter
13 -
Protestant traditions of organ playing and
chorale improvisation
116
Hymnological and liturgical background
116
Three musicologists and their contribution
11 7
Church music linked to practical theological studies
119
Chapter
14 -
A leading organist,
improviser
and teacher
121
Characteristics of Herzog's liturgical organ playing
123
The Bach-succession
125
The music scholar
Johann
Georg Herzog 126
Herzog's own musical preferences
127
Chapter
15 -
An important textbook in church organ
playing
130
Johann
Georg
Herzog's
Orgelschule 130
1.
Principles for chorale-playing
132
2.
Choral preludes and pieces of a free character
137
3.
Liturgical accompaniment
145
Chapter
16 -
Recording project V. A 19th Century
Christmas Service
148
A creative understanding of music history
148
Historically inspired organ improvisations in
Haga
Church,
Gothenburg
150
Chapter
17 -
A collection of examples for improvisation
153
Musical craftsmanship
-
a common denominator for
1
9th
century musicians
155
Chapter
18 -
20th century tradition bearers
158
Heinz
Wunderlich 158
RuthZechlin
161
Rolande
Falcinelli
164
Olivier Latry
167
European organ improvisation traditions illustrated by two
20th century textbooks
170
PART
2:
THE ART OF IMPROVISATION AS A STYLISTIC,
AESTHETIC AND PROCEDURAL PHENOMENON
1 73
Chapter
19 -
Style and aesthetic
174
Improvisation
-
craftsmanship, art or kitsch?
174
Two main directions
175
Two newspaper reviews
178
20th century culture
-
a powerful catalyst
179
Improvisation
-
the aesthetic of the moment
182
The expression "style" as a subject to be studied
187
A plan for the study of organ improvisation
190
Chapter
20 -
Understanding the processes
Early
1
9th century and early
21
st century thoughts on
. ■ .· 194
improvisation
A process based on dilemmas 196
1.
Musical improvisation as an activity based on rules
■1
QQ
and systems
A distinction between composition and improvisation
200
Cognitive and motor models for explaining improvised
actions
202
Improvisation in the light of specialised skills
207
Basis of knowledge 209
About referents
209
Conscious systemisation of the elements of knowledge
211
2.
Improvisation as an interplay between intuitive and
logical-analytical factors
213
Keith Swanwick
-
about the formation of musical
expressions
215
3.
Creative actions in the light of cross-modal experiences
216
■
Cross-modal theory
219
4.
Skills which originate from imitation and study with
a master
225
Procedural goals of knowledge
227
Chapter
21 -
A model for learning
229
Developing a "vocabulary" for improvisation linked to
movements
229
A mode! for learning of movements
232
A model for the control of movements
233
About chunking in improvisation
234
Historic instructions for learning improvisation's
"vocabulary"
235
How is a technique for improvisation created?
237
Chapter
22 -
Studying harmony and counterpoint
in improvisation
241
Harmonic awareness
241
Learning contrapuntal techniques
242
Chapter
23
-Two Recording projects
244
Recording project
2:
Contrasts on an historic ground
245
Henri
Bergson
-
a philosophical inspiration for the
recording
245
Kaleidoscopic organ sounds
246
Improvisations at the organs In
Slagen
and
Eik
churches,
Tonsberg 248
"Det var en
gang
en dronning.
" 249
("Once there was a queen.
.")
249
Commentary on the Recording 250
Recording project
3:
A Concert Mass
-
Missa
sacra
et profana
253
Dietrich Bonhoeffer
-
a theological inspiration for a
recording project
253
The fragmentary and paradoxical as an esthetical idea
255
Ensemble-improvisation in
Vasa
Church, Gothenburg
258
The Roman Catholic Mass for Easter day
259
POSTLUDE
263
Sketches for a conclusion
-
a possible approach to further
creative improvisation research
263
Chapter
24 -
Summary reflections
264
Aspects of Teaching
266
Aspects for further investigation
267
APPENDICES
269
The function of the organ in
1
9th century
Evangelical Lutheran services
270
A description of Louis Vierne's improvisations
and teaching
272
Improvisation taught by Louis Vierne
-
his
approach to
harmonisation
and development
of
a thème libre
273
Adalbert Lindner describes Reger's art of
improvisation in his youth in
Weiden
280
Reger's improvisation at concerts in Kolberg
281
Reger
on the subject of
fugai
improvisation
283
Some facts about the Performers on the
Recording projects
284
Organs used for the Recording projects
287
LITERARY SOURCES
291
MUSIC SOURCES
301
INDEX OF NAMES
305 |
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| author | Tandberg, Svein Erik |
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| author_role | aut |
| author_sort | Tandberg, Svein Erik |
| author_variant | s e t se set |
| building | Verbundindex |
| bvnumber | BV035183596 |
| classification_rvk | LR 11880 |
| ctrlnum | (OCoLC)644967422 (DE-599)GBV583867561 |
| discipline | Musikwissenschaft |
| discipline_str_mv | Musikwissenschaft |
| era | Geschichte gnd |
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| format | Thesis Book |
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| genre | (DE-588)4113937-9 Hochschulschrift gnd-content |
| genre_facet | Hochschulschrift |
| id | DE-604.BV035183596 |
| illustrated | Illustrated |
| index_date | 2024-07-02T22:58:54Z |
| indexdate | 2024-07-09T21:26:55Z |
| institution | BVB |
| isbn | 9789197591188 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016990312 |
| oclc_num | 644967422 |
| open_access_boolean | |
| owner | DE-12 DE-703 DE-M29 DE-29 DE-M468 |
| owner_facet | DE-12 DE-703 DE-M29 DE-29 DE-M468 |
| physical | XII, 312 S. Ill., Notenbeisp. 4 CDs (12 cm) |
| publishDate | 2008 |
| publishDateSearch | 2008 |
| publishDateSort | 2008 |
| publisher | Univ. of Gothenburg, Academy of Music and Drama, Faculty of Fine, Applied and Performing Arts |
| record_format | marc |
| series2 | Art monitor |
| spelling | Tandberg, Svein Erik Verfasser (DE-588)131441310 aut Imagination, form, movement and sound studies in musical improvisation Svein Erik Tandberg Gothenburg Univ. of Gothenburg, Academy of Music and Drama, Faculty of Fine, Applied and Performing Arts 2008 XII, 312 S. Ill., Notenbeisp. 4 CDs (12 cm) txt rdacontent n rdamedia nc rdacarrier Art monitor Zugl.: Göteborg, Univ., Diss., 2008 Geschichte gnd rswk-swf Improvisation (DE-588)4127993-1 gnd rswk-swf Orgelspiel (DE-588)4043856-9 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Orgelspiel (DE-588)4043856-9 s Improvisation (DE-588)4127993-1 s Geschichte z DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016990312&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Tandberg, Svein Erik Imagination, form, movement and sound studies in musical improvisation Improvisation (DE-588)4127993-1 gnd Orgelspiel (DE-588)4043856-9 gnd |
| subject_GND | (DE-588)4127993-1 (DE-588)4043856-9 (DE-588)4113937-9 |
| title | Imagination, form, movement and sound studies in musical improvisation |
| title_auth | Imagination, form, movement and sound studies in musical improvisation |
| title_exact_search | Imagination, form, movement and sound studies in musical improvisation |
| title_exact_search_txtP | Imagination, form, movement and sound studies in musical improvisation |
| title_full | Imagination, form, movement and sound studies in musical improvisation Svein Erik Tandberg |
| title_fullStr | Imagination, form, movement and sound studies in musical improvisation Svein Erik Tandberg |
| title_full_unstemmed | Imagination, form, movement and sound studies in musical improvisation Svein Erik Tandberg |
| title_short | Imagination, form, movement and sound |
| title_sort | imagination form movement and sound studies in musical improvisation |
| title_sub | studies in musical improvisation |
| topic | Improvisation (DE-588)4127993-1 gnd Orgelspiel (DE-588)4043856-9 gnd |
| topic_facet | Improvisation Orgelspiel Hochschulschrift |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016990312&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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