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dc.contributor.authorSmilansky, Uri
dc.contributor.authorLewon, Marc
dc.date.accessioned2021-12-15T09:09:03Z
dc.date.available2021-12-15T09:09:03Z
dc.date.issued2021
dc.identifier.urihttps://library.oapen.org/handle/20.500.12657/52021
dc.description.abstractThe idea of improvisation, broadly defined, has been integral to our imagination of the medieval musical past. It can be related to many elements of production: to the act of un-notated creation; to the manipulation and amplification of notated materials; to our observance of rigid rules and formulae; or to spontaneous freedom. Likely a product of the Carolingian Renaissance, this is the first medieval music treatise to address an aspect of chant performance that does not only relate to a memorized repertoire, but includes an unwritten practice of extemporizing an accompanying voice to a pre-given melody. The art of “coloration” or the ornamentation of a line, whether polyphonic or monophonic, had been an integral part of extemporization since at least the time of the Ad organum faciendum treatises. When planning author's ontological inquiries, the author's would do well to remember the possible existence of creativity that is not inspired, or ephemerality that is not performer- or expression-centered.en_US
dc.languageEnglishen_US
dc.subject.classificationbic Book Industry Communication::H Humanities::HP Philosophyen_US
dc.subject.otherPhilosophy, Ontology, Music, Improvisation, Arts, Performanceen_US
dc.titleChapter 22 Competing Ontologies of Musical Improvisationen_US
dc.title.alternativeA Medieval Perspectiveen_US
dc.typechapter
oapen.identifier.doi10.4324/9781003179443-26en_US
oapen.relation.isPublishedBy7b3c7b10-5b1e-40b3-860e-c6dd5197f0bben_US
oapen.relation.isPartOfBooka9f62e60-a019-41bf-a834-eba20ced681den_US
oapen.relation.isFundedByfd53808a-cdec-480e-bf85-f52973f603b7en_US
oapen.relation.isbn9781032016498en_US
oapen.relation.isbn9780367203641en_US
oapen.imprintRoutledgeen_US
oapen.pages14en_US


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