An improvisatory approach to nineteenth-century music (last edited: 2023)

Bert Mooiman
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In the field of Western art music, improvisation has become a much discussed topic. In this interdisciplinary study Bert Mooiman argues that in this context, improvisation is not to be seen as a quasi-autonomous skill or art form, but as an aspect of music-making in general. With this research, Mooiman offers a ‘panorama’ of nineteenth-century styles and situations of music-making that together sketch a picture of improvisatory aspects of nineteenth-century music. Music was generally experienced as a wordless language, and he argues that making music was understood as a rhetorical act: performers strove for musical persuasion. This study focuses on the performer: it explores how performers in the nineteenth century might have thought during the real-time act of music-making, and how performers today might learn to use musical languages from the past actively again. For this last aspect, the area of music theory is relevant; Mooiman concludes his dissertation with a discussion of how traditional music theory is challenged by improvisatory music-making.
typeresearch exposition
keywordsImprovisation Classical Music, Nineteenth Century, Historically Informed Performance, Rhetoric, Music Theory, Music Analysis, Bel Canto
last modified02/02/2023
statusin progress
share statuspublic
copyrightBert Mooiman
licenseCC BY-NC-ND
connected toAcademy of Creative and Performing Arts
external linkhttps://scholarlypublications.universiteitleiden.nl/handle/1887/3247235?solr_nav%5Bid%5D=3a82bac0b866ae5075d7&solr_nav%5Bpage%5D=0&solr_nav%5Boffset%5D=0

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