![]() ![]() This project officially started in August, 2014, under the supervision of Prof. At the same time however, the award of a 4-year grant from NWO, the Dutch governmental organization for the funding of scientific research, made it possible to scale up this research to a PhD project that would focus on the role of improvisation in 19 th-century music making. This project, entitled ‘Classical Improvisation’, was intended to be carried on in the form of the Master Research project, presented here. It all started during the academic year 2012-2013 with a small scale research under the flag of ‘KC teachers’ research’. This research project does not stand alone. Notes, selected bibliography, musical sources Ornamental patterns and instrumental techniqueĥ. Improvisation and fixation: score, context, interpretation and improvisationģ.4.1 The first level of meaning: the meaning of notational signsģ.4.2 The second level of meaning: the meaning of a scoreĤ. Dr Hans Fidom (VU University Amsterdam)ģ. Improvising on basis of 19 th-century music making Historically Inspired Improvisation - Improvising on basis of 19th-century music making. Drawing upon the theory of loci communes, I will work out an example of how I think Czerny’s book can still be a valuable source of inspiration today. Czerny turns out to presume skills that are no longer self-evident to musicians of today, while on the other hand issues which are nowadays important are not addressed in his text at all. It is interesting to compare such insights with original treatises on improvisation, especially Carl Czerny’s Anleitung zum Fantasieren auf dem Pianoforte (1829). I will analyse and comment upon this recording, developing the idea of musical ‘loci communes’ which enables us to connect improvisation with the interpretation of a score. In my essay, a recorded student improvisation will be taken as a starting point. In this way, improvisation has the potential to fertilize all our ‘musicking’ (Chr. ‘H.I.I.’ doesn’t necessarily aim for style imitations rather, it works the other way around: integrating what we can use from historical music practices into our own creative music making. I would like to propose the notion of ‘historically inspired improvisation’ instead, indicating improvisation which uses thorough knowledge about music making in the past as a source of inspiration. These terms are not without problems, though. An environment has been created which fosters the idea that improvisation is important for classical musicians, and a lot of experience has been gathered in teaching improvisation to those students.īut what precisely do we mean with the word improvisation? And how exactly do we argue that improvisation is important for the new generations of conservatoire students? Improvisation by classical musicians is often referred to as ‘classical improvisation’ or ‘improvisation in a classical style’. The Royal Conservatoire in The Hague (The Netherlands) invests in ‘classical’ improvisation. In order to become, like musicians from the past, creative performers who are able to enter into a living relationship with the music, learning how to improvise seems to be a valuable means. More and more musicians become aware of the artistic limitations of this approach. As a result of this attitude the musical languages of the common practice period have become dead languages, more or less like Latin and Ancient Greek, which are (with very few exceptions) no longer spoken actively but only translated into modern languages. This is usually a one way process: without a score there will be no music. The average modern classical musician, the performer of music from the common practice era, tends to perform from scores only, and to treat a score like a text that should be converted into sound as precisely as possible. ![]()
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