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Compositio extemporanea

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Compositio extemporanea primas partes in iaz suscipit, ubi musici locos melodicos supra series chordarum per tonos diagrammatum et chordarum ex tempore dicunt. Ioannes Hodges in photographemate est.
Ludovicus Armstrong, dominus compositionis extemporaneae.
Orchestra Ducis Ellington in Hurricane Ballroom.

Compositio extemporanea,[1] etiam musica ex tempore composita,[1][2] est agitatio creatrix ipsius temporis compositionis musicae, quae perfunctionem cum communicatione animi motuum et ratione instrumentorum componit, cum aliis musicis responso automato.[3] Aliquando ideae musicae per compositionem extemporaneam factae automatae sunt, sed in mutationibus chordarum in musica classica[4] et multis aliis musicae generibus condi potest. Una definitio est "perfunctio ex tempore sine consilio vel praeparatione data."[5][6] Alia definitio est "ludere vel canere ex tempore, per variationes melodiae inveniendas, vel per novas melodias, rhythmos, et harmonias creandas."[7][8] Encyclopædia Britannica vocabulum definit "compositio extemporanea vel perfunctio libera loci musici, usitate modo qui se ad certas normas stilisticas accommodat, a proprietatibus praescriptivis certae compositionis musicae non obligata. Musica primum ex tempore dicta est, et iam in traditionibus Orientalibus et in hodierna iaz traditione Occidentali late extemporanea est."[9][10]

Per aetates mediaevalem, Renascentiae, Barocam, Classicam, et Romanticam, compositio extemporanea sollertia magni aestimata fuit. I. S. Bach, Handel, Mozart, Beethoven, Chopin, Liszt, et multi alii compositores et musici sollertiis talis rationis compositionis innotuerunt. Compositio extemporanea partes magni momenti aetate monophonica agere poterat. Primi tractatus de polyphonia, sicut Musica enchiriadis (saeculo nono), nonnulla saecula ante prima exempla notata ex tempore dicebantur plane affirmat; solum autem saeculo quinto decimo theoristae inter musicam extemporaneam a musica scripta definite distinguere coeperunt.[11] Multae formae classicae partes extemporaneas comprehenderunt, sicut cadentiae in concertis et praeludia nonnullorum sequentiarum clavilisticarum Bachii et Handelii, quae in elaborationibus seriei chordarum consistunt, quibus actores pro fundamentis eorum artis utuntur. Handel, Scarlatti, et Bachius ad traditionem componendi ex tempore ad clavile pertinebant.

In musica classica Indiae, Pakistaniae, et Bangladeshiae, raga est "tonalis compositionis et componendi ex tempore forma."[12][13] Encyclopædia Britannica ragam definit "forma melodica componendi ex tempore et compositionis."[14]

Nexus interni

Notae[recensere | fontem recensere]

  1. 1.0 1.1 Warning icon.svg Fons nominis Latini desideratur (addito fonte, hanc formulam remove)
  2. Vel fortasse Latinite recentiori extemporizatio musica.
  3. Gorow 2002:212.
  4. Gorow 2002:212.
  5. Anglice: "performance given extempore without planning or preparation."
  6. "Improvisation," in WordNet 3.0, Farlex clipart collection. © 2003-2012 Princeton University, Farlex Inc.
  7. Anglice: "to play or sing (music) extemporaneously, by inventing variations on a melody or creating new melodies, rhythms and harmonies."
  8. Improvise, The Free Dictionary.
  9. Anglice: "the extemporaneous composition or free performance of a musical passage, usually in a manner conforming to certain stylistic norms but unfettered by the prescriptive features of a specific musical text. Music originated as improvisation and is still extensively improvised in Eastern traditions and in the modern Western tradition of jazz."
  10. http://www.britannica.com/art/improvisation-music
  11. Horsley 2001.
  12. Anglice: "the tonal framework for composition and improvisation."
  13. Bor et al. 1999:181.
  14. Raga.

Bibliographia[recensere | fontem recensere]

  • Abert, Hermann. 2007. W. A. Mozart. Conv. ex Theodisca a Stewart Spencer, ed. Cliff Eisen. Portu Novo: Yale University Press. ISBN 978-0-300-07223-5.
  • Adorno, Theodor W. 1973. The Jargon of Authenticity. Conv. Knut Tarnowski et Frederic Will. Evanstoniae Illinoesiae: Northwestern University Press. ISBN 0-8101-0407-5.
  • Adorno, Theodor W. 1981. Prisms. Conv. ex Theodisca a Samuel et Shierry Weber. Studies in Contemporary German Social Thought. Cantabrigiae Massachusetae: MIT Press. ISBN 0-262-51025-1, ISBN 0-262-01064-X.
  • Adorno, Theodor W. 1997. Aesthetic Theory. Conv. a Robert Hullot-Kentor. Minneapoli: University of Minnesota Press. ISBN 0-8166-1799-6.
  • Bor, Joep, Suvarnalata Rao, Wim Van der Meer, Wim, et Jane Harvey. 1999. The Raga Guide. Nimbus Records. ISBN 0-9543976-0-6.
  • Brown, Howard Mayer. 1976. Embellishing Sixteenth-Century Music. Early Music Series, 1. Londinii: Oxford University Press. ISBN 0-19-323175-1.
  • Collins, Michael, Stewart A. Carter, Greer Garden, et Robert E. Seletsky. 2001. Improvisation II: Western Art Music 3: The Baroque Period. The New Grove Dictionary of Music and Musicians, editio secunda, ed. Stanley Sadie et John Tyrrell. Londinii: Macmillan Publishers.
  • Crutchfield, Will. 1983. Vocal Ornamentation in Verdi: The Phonographic Evidence. 19th-Century Music 7(1):3–54. JSTOR 746545.
  • Dalla Casa, Girolamo. 1584. Il vero modo di diminuir, con tutte le sorti di stromenti di fiato, & corda, & di voce humana. 2 vol. Venetiis: Angelo Gardano. Impressio facsimile in uno volumine, Bibliotheca musica Bononiensis, sezione 2, no. 23 (Bononiae: Arnoldi Forni Editore).
  • Fuller, Sarah. 2002. Organum, Discantus, Contrapunctus in the Middle Ages. In The Cambridge History of Western Music Theory, ed. Thomas Christensen, 477–502. Cantabrigiae: Cambridge University Press. ISBN 0-521-62371-5.
  • Ganassi, Silvestro. 1535. Opera Intitulata Fontegara: Laquale insegna a sonare di flauto ch'o tutta l'arte opportuna a esso instrumento massime il diminuire ilquale sara utile ad ogni istrumeno di fiato et chorde: et anchora a chi si dileta di canto. Venetiis: "per Syluestro di Ganassi dal Fontego, Sonator dalla illustrissima signoria di Venetia hautor pprio." Reimpressio facsimile, Collezione di trattati e musiche antiche edite in fac-simile (Mediolani: Bollettino bibliografico musicale, 1934) et Bibliotheca musica Bononiensis, Sezione II, no. 18 (Bononiae: Forni, 1969).
  • Gorow, Ron. 2002. Hearing and Writing Music: Professional Training for Today's Musician. Ed. 2a. Gardenae Californiae: September Publishing. ISBN 0-9629496-7-1.
  • Griffiths, Paul. 2001. Improvisation §II: Western Art Music 6: The 20th Century. The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie et John Tyrrell. Londinii: Macmillan.
  • Hamilton, Kenneth. 2008. After the Golden Age: Romantic Pianism and Modern Performance. Oxoniae et Novi Eboraci: Oxford University Press. ISBN 978-0-19-517826-5.
  • Horsley, Imogene. 2001. Improvisation II: Western Art Music 2: History to 1600. The New Grove Dictionary of Music and Musicians, ed. 2a, ed. Stanley Sadie et John Tyrrell. Londinii: Macmillan Publishers.
  • Hotteterre, Jacques-Martin. 1719. L’art de préluder: sur la flûte traversière, sur la flûte à bec, sur le hautbois et autres instrumens de dessus, op. 7. Lutetiae: Boivin.
  • Solomon, Maynard. 1998. Beethoven, editio secunda, retractata. Novi Eboraci: Schirmer Books; Londinii: Prentice Hall International. ISBN 0-02-864717-3. Impressio secunda, 2001, ISBN 0-8256-7268-6.
  • Szwed, John F. 2000. Jazz 101: A Complete Guide to Learning and Loving Jazz. Novi Eboraci: Hyperion. ISBN 0-7868-8496-7.
  • Thomas de Sancta Maria, fray. 1565. Libro llamado Arte de tañer fantasia: assi para tecla como para vihuela, y todo instrumento, en que se pudiere tañer a tres, y a quatro vozes, y a mas . . . Elqual por mandado del muy alto Consejo real fue examinado, y aprouado por el eminente musico de Su Magestad Antonio de Cabeçon, y por Iuan de Cabeçon, su hermano. Valladolid: F. Fernandez de Cordova.
  • Von Gunden, Heidi. 1983. The Music of Pauline Oliveros. Metuchen Novae Caesareae: Scarecrow Press. ISBN 0-8108-1600-8.
  • Winkler, Peter. 1978. Toward a Theory of Pop Harmony. In Theory Only 4(2):3–26.

Bibliographia addita[recensere | fontem recensere]

  • Alperson, Philip. 1984. On Musical Improvisation. The Journal of Aesthetics and Art Criticism 43(1):17–29.
  • Bailey, Derek. 1992. Improvisation: Its Nature and Practice in Music. Ed. retractata. Londinii: British Library National Sound Archive. ISBN 0-7123-0506-8.
  • Berliner, Paul. 1994. Thinking in Jazz: The Infinite Art of Improvisation. Sicagi: University of Chicago Press. ISBN 0-226-04380-0, ISBN 0-226-04381-9 (charta).
  • Crutchfield, Will. 2001. Improvisation: II. Western Art Music: 5. The Nineteenth Century: (ii) Vocal music. The New Grove Dictionary of Music and Musicians, ed. 2a, ed. Stanley Sadie et John Tyrrell. Londiniin: Macmillan Publishers.
  • Czerny, Carl. 1833. L’art de préluder: mis en pratique pour le piano par 120 examples de préludes, modulations, cadenses et fantaisien de tous genres. Lutetiae: M. Schlesinger.
  • Duckles, Vincent. 1957. Florid Embellishment in English Song of the Late 16th and Early 17th Centuries. Annales musicologiques 5:329–345.
  • Ferand, Ernest T. 1938. Die Improvisation in der Musik; eine Entwicklungsgeschichtliche und Psychologische Untersuchung. Turici: Rhein-Verlag.
  • Ferand, Ernest T. 1956. Improvised Vocal Counterpoint in the Late Renaissance and Early Baroque. Annales Musicologiques 4:129–174.
  • Friedrich, Otto. 1989. Glenn Gould: A Life and Variations. Novi Eboraci: Random House. ISBN 0-394-57771-X.
  • Guido d'Arezzo. 1978. Micrologus [ca. 1027]. Conv. Warren Babb. In Hucbald, Guido, and John on Music: Three Medieval Treatises, ed. cum introductionibus a Claude V. Palisca; index cantuum ab Alejandro Enrique Planchart, 57–83. Music Theory Translation Series 3. Portu Novo et Londinii: Yale University Press. ISBN 0-300-02040-6.
  • Hall, Lucy. 2002. They're Just Making It Up—Whatever Happened to Improvisation in Classical Music? The Guardian, 12 Iunii.
  • Heartz, Daniel. 19581963. The Basse Dance, Its Evolution Circa 1450 to 1550. Annales Musicologiques 6:287–340.
  • Kertz-Welzel, Alexandra. 2004. Piano Improvisation Develops Musicianship. Orff-Echo 37(1):11–14.
  • Koenig, Wolf, et Roman Kroitor. 1959a. Glenn Gould: Off the Record. Pellicula, 30 min. Canada]: National Film Board of Canada.
  • Koenig, Wolf, et Roman Kroitor. 1959b. Glenn Gould: On the Record. Pellicula, 30 min. Canada: National Film Board of Canada.
  • Kutschke, B. 1999. An Always-Accessible Instrument of Innovation. Perspectives of New Music 37(2):147–162. JSTOR 833513 (situs venalis).
  • Mozart, Wolfgang Amadeus. 1953. Concerto No. 24 In C Minor for Piano, ed. Franz Kullak. Novi Eboraci: G. Schirmer.
  • Nachmanovitch, Stephen. 1990. Free Play: Improvisation in Life and Art. Angelopoli: J. P. Tarcher, Inc.; Novi Eboraci: St. Martin's Press. ISBN 0-87477-578-7, ISBN 0-87477-631-7 (charta); Novi Eboraci: G. P. Putnam's Sons. ISBN 0-87477-631-7.
  • Paras, Jason. 1986. The Music for Viola Bastarda, ed. George Houle et Glenna Houle. Music—Scholarship and Performance. Bloomington: Indiana University Press. ISBN 0-253-38824-4.
  • Polk, Keith. 1966. Flemish Wind Bands in the Late Middle Ages: A Study of Improvisatory Instrumental Practices. Dissertatio PhD, Berkeleiae: University of California.
  • Schopenhauer, Arthur. 1958. The World as Will and Representation. Translated from the German by E. F. J. Payne, 2 vols. [Indian Hills, Colorado]: Falcon's Wing Press.
  • Sancho-Velazquez, Angeles. 2005. The Legacy of Genius: Improvisation, Romantic Imagination, and the Western Musical Canon. Dissertatio PhD, University of California, Los Angeles.
  • Solis, Gabriel, et Bruno Nettl, eds. 2009. Musical Improvisation: Art, Education, and Society. Champaign: University of Illinois Press. ISBN 978-0-252-03462-6, ISBN 978-0-252-07654-1 (charta).
  • Thiollet, Jean-Pierre, 2017. Improvisation so piano. Magland: Neva Editions. ISBN 978-2-35055-228-6

Nexus externi[recensere | fontem recensere]

Commentarii[recensere | fontem recensere]

Libri[recensere | fontem recensere]

Extemporizationes[recensere | fontem recensere]

Aliae res[recensere | fontem recensere]