The pianist's guide to historic improvisation:
"This book is for pianists who wish to improvise. Many will be experienced performers - perhaps even veteran concert artists - who are nevertheless beginners at improvisation. This contradiction is a reflection of our educational system. Those who attend collegiate music schools spend nearly al...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
Oxford University Press
[2020]
|
| Schlagworte: | |
| Zusammenfassung: | "This book is for pianists who wish to improvise. Many will be experienced performers - perhaps even veteran concert artists - who are nevertheless beginners at improvisation. This contradiction is a reflection of our educational system. Those who attend collegiate music schools spend nearly all time and effort on learning, perfecting, and reciting masterpieces from the standard repertoire. As far as I can remember, no one ever taught or advocated for improvisation during my decade as a student in music schools. Certainly no one ever improvised anything substantial in a concert (except for the jazz musicians, who were, I regret to say, a separate division and generally viewed with complete indifference by the classical community). Nor did any history professor mention that, long ago, improvisation was commonplace and indeed an indispensable skill for much of the daily activity of a working musician. I continue to dedicate a portion of my career to "perfecting and reciting" masterpieces of the repertoire, and teaching my students to do the same. That tradition is dear to me. Still, if I have one regret about my traditional education, it's that it wasn't traditional enough. We have forgotten that in the eighteenth century - those hundred years that form the bedrock of classical music - improvisation was a foundation of music training. Oddly, our discipline has discarded a practice that helped bring it into being. Perhaps it is time to retrieve it from the junk heap of history and give it a good dusting off. I love the legends of the improvisational powers of the masters: Bach creating elaborate fugues on the spot, or Beethoven humiliating Daniel Steibelt by riffing upon and thereby exposing the weakness of the latter's inferior tunes. The stories implied that these abilities were instances of inexplicable genius which we could admire in slack-jawed wonder but never emulate. But that isn't right. Bach could improvise fugues not because he was unique but because almost any properly-trained keyboard player in his day could. Even mediocre talents could improvise mediocre fugues. Bach was exceptionally good at something which pretty much everyone could do at a passable level. They could all do it because it was built into their musical thinking from the very beginning of their training"-- |
| Beschreibung: | ix, 208 Seiten Notenbeispiele 28 cm |
| ISBN: | 9780190920401 9780190920395 |
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| 520 | 3 | |a "This book is for pianists who wish to improvise. Many will be experienced performers - perhaps even veteran concert artists - who are nevertheless beginners at improvisation. This contradiction is a reflection of our educational system. Those who attend collegiate music schools spend nearly all time and effort on learning, perfecting, and reciting masterpieces from the standard repertoire. As far as I can remember, no one ever taught or advocated for improvisation during my decade as a student in music schools. Certainly no one ever improvised anything substantial in a concert (except for the jazz musicians, who were, I regret to say, a separate division and generally viewed with complete indifference by the classical community). Nor did any history professor mention that, long ago, improvisation was commonplace and indeed an indispensable skill for much of the daily activity of a working musician. | |
| 520 | 3 | |a I continue to dedicate a portion of my career to "perfecting and reciting" masterpieces of the repertoire, and teaching my students to do the same. That tradition is dear to me. Still, if I have one regret about my traditional education, it's that it wasn't traditional enough. We have forgotten that in the eighteenth century - those hundred years that form the bedrock of classical music - improvisation was a foundation of music training. Oddly, our discipline has discarded a practice that helped bring it into being. Perhaps it is time to retrieve it from the junk heap of history and give it a good dusting off. I love the legends of the improvisational powers of the masters: Bach creating elaborate fugues on the spot, or Beethoven humiliating Daniel Steibelt by riffing upon and thereby exposing the weakness of the latter's inferior tunes. The stories implied that these abilities were instances of inexplicable genius which we could admire in slack-jawed wonder but never emulate. | |
| 520 | 3 | |a But that isn't right. Bach could improvise fugues not because he was unique but because almost any properly-trained keyboard player in his day could. Even mediocre talents could improvise mediocre fugues. Bach was exceptionally good at something which pretty much everyone could do at a passable level. They could all do it because it was built into their musical thinking from the very beginning of their training"-- | |
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Datensatz im Suchindex
| _version_ | 1804181644525961216 |
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| author | Mortensen, John J. ca. 20./21. Jh |
| author_GND | (DE-588)1216954801 |
| author_facet | Mortensen, John J. ca. 20./21. Jh |
| author_role | aut |
| author_sort | Mortensen, John J. ca. 20./21. Jh |
| author_variant | j j m jj jjm |
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| bvnumber | BV046826870 |
| classification_rvk | LR 56090 |
| ctrlnum | (OCoLC)1196320859 (DE-599)BVBBV046826870 |
| discipline | Musikwissenschaft |
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| illustrated | Illustrated |
| index_date | 2024-07-03T15:03:52Z |
| indexdate | 2024-07-10T08:54:56Z |
| institution | BVB |
| isbn | 9780190920401 9780190920395 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032235091 |
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| physical | ix, 208 Seiten Notenbeispiele 28 cm |
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| publisher | Oxford University Press |
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| spelling | Mortensen, John J. ca. 20./21. Jh. Verfasser (DE-588)1216954801 aut The pianist's guide to historic improvisation John J. Mortensen New York, NY Oxford University Press [2020] ix, 208 Seiten Notenbeispiele 28 cm txt rdacontent n rdamedia nc rdacarrier "This book is for pianists who wish to improvise. Many will be experienced performers - perhaps even veteran concert artists - who are nevertheless beginners at improvisation. This contradiction is a reflection of our educational system. Those who attend collegiate music schools spend nearly all time and effort on learning, perfecting, and reciting masterpieces from the standard repertoire. As far as I can remember, no one ever taught or advocated for improvisation during my decade as a student in music schools. Certainly no one ever improvised anything substantial in a concert (except for the jazz musicians, who were, I regret to say, a separate division and generally viewed with complete indifference by the classical community). Nor did any history professor mention that, long ago, improvisation was commonplace and indeed an indispensable skill for much of the daily activity of a working musician. I continue to dedicate a portion of my career to "perfecting and reciting" masterpieces of the repertoire, and teaching my students to do the same. That tradition is dear to me. Still, if I have one regret about my traditional education, it's that it wasn't traditional enough. We have forgotten that in the eighteenth century - those hundred years that form the bedrock of classical music - improvisation was a foundation of music training. Oddly, our discipline has discarded a practice that helped bring it into being. Perhaps it is time to retrieve it from the junk heap of history and give it a good dusting off. I love the legends of the improvisational powers of the masters: Bach creating elaborate fugues on the spot, or Beethoven humiliating Daniel Steibelt by riffing upon and thereby exposing the weakness of the latter's inferior tunes. The stories implied that these abilities were instances of inexplicable genius which we could admire in slack-jawed wonder but never emulate. But that isn't right. Bach could improvise fugues not because he was unique but because almost any properly-trained keyboard player in his day could. Even mediocre talents could improvise mediocre fugues. Bach was exceptionally good at something which pretty much everyone could do at a passable level. They could all do it because it was built into their musical thinking from the very beginning of their training"-- Improvisation (DE-588)4127993-1 gnd rswk-swf Musikalische Aufführungspraxis (DE-588)4170800-3 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Klavierspiel (DE-588)4030996-4 gnd rswk-swf Klaviermusik (DE-588)4030993-9 gnd rswk-swf Historische Musikpraxis (DE-588)4197967-9 gnd rswk-swf Improvisation (Music) Piano / Instruction and study Performance practice (Music) / History / 18th century Performance practice (Music) 1700-1799 History Historische Musikpraxis (DE-588)4197967-9 s Klaviermusik (DE-588)4030993-9 s Improvisation (DE-588)4127993-1 s Musikalische Aufführungspraxis (DE-588)4170800-3 s Klavierspiel (DE-588)4030996-4 s Musik (DE-588)4040802-4 s DE-604 Erscheint auch als Online-Ausgabe, EPUB 978-0-19-092042-5 Erscheint auch als Online-Ausgabe 978-0-19-092043-2 |
| spellingShingle | Mortensen, John J. ca. 20./21. Jh The pianist's guide to historic improvisation Improvisation (DE-588)4127993-1 gnd Musikalische Aufführungspraxis (DE-588)4170800-3 gnd Musik (DE-588)4040802-4 gnd Klavierspiel (DE-588)4030996-4 gnd Klaviermusik (DE-588)4030993-9 gnd Historische Musikpraxis (DE-588)4197967-9 gnd |
| subject_GND | (DE-588)4127993-1 (DE-588)4170800-3 (DE-588)4040802-4 (DE-588)4030996-4 (DE-588)4030993-9 (DE-588)4197967-9 |
| title | The pianist's guide to historic improvisation |
| title_auth | The pianist's guide to historic improvisation |
| title_exact_search | The pianist's guide to historic improvisation |
| title_exact_search_txtP | The pianist's guide to historic improvisation |
| title_full | The pianist's guide to historic improvisation John J. Mortensen |
| title_fullStr | The pianist's guide to historic improvisation John J. Mortensen |
| title_full_unstemmed | The pianist's guide to historic improvisation John J. Mortensen |
| title_short | The pianist's guide to historic improvisation |
| title_sort | the pianist s guide to historic improvisation |
| topic | Improvisation (DE-588)4127993-1 gnd Musikalische Aufführungspraxis (DE-588)4170800-3 gnd Musik (DE-588)4040802-4 gnd Klavierspiel (DE-588)4030996-4 gnd Klaviermusik (DE-588)4030993-9 gnd Historische Musikpraxis (DE-588)4197967-9 gnd |
| topic_facet | Improvisation Musikalische Aufführungspraxis Musik Klavierspiel Klaviermusik Historische Musikpraxis |
| work_keys_str_mv | AT mortensenjohnj thepianistsguidetohistoricimprovisation |