I extend my deepest gratitude to my supervisors, Maggie Urquhart and Santo Militello, for their unwavering support and invaluable expertise throughout this enriching journey into Baroque improvisation. Their guidance has been instrumental in shaping both my research and artistic exploration.
I am also profoundly grateful to Bart van Oort, whose enthusiasm and encouragement have been a constant source of motivation. My sincere thanks go to the Theory Department for their insightful contributions to my understanding of partimento, which have significantly enriched this study.
Special thanks to Marc Vanscheeuwijck for his generosity in guiding me on how to access crucial sources essential to my research. I am also deeply appreciative of my brilliant colleague, Agata Sorotokin, for her kind collaboration in the videos presented in this paper. Additionally, I extend my gratitude to the Biblioteca del Conservatorio di San Pietro a Majella in Naples for granting me access to original autographs that were fundamental to my work.
Furthermore, I extend my appreciation to the entire research team, whose engagement with my questions and discussions has greatly contributed to the depth of this study. Their support and collaboration have been invaluable.
Finally, my heartfelt gratitude goes to my family. Through their wisdom and unwavering support, they have given me the opportunity to pursue my studies at this remarkable institution.