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Baroque (musique) --- Bach, Johann Sebastian --- Critique et interprétation.

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This volume aims to investigate the role and forms of improvisation in Baroque music. In the Baroque period there is a large discrepancy between sound entity and musical notation. In a context where the musical tradition, handwritten and printed, at times suggests the possible execution of a passage, at times indicates a specific mode of execution often adapted by the ability of the performer or the musical occasion, the margin for improvisation is wide. The in-depth and possibly comparative study of musical sources, their historical contextualization, their evaluation on the basis of documentary and theoretical testimonies, allows us to shed light on the real aural rendering of the synthetic written page. This volume aims to investigate the role and forms of improvisation in Baroque music under many of its multifaceted aspects, in a study that will define the links between creative process and executive practice. Fulvia Morabito is currently President of the Centro Studi Opera Omnia Luigi Boccherini, Lucca. She is General Editor of the series ‘Monumenta Musica Europea’ and ‘Studies on Italian Music History’ (Brepols Publishers). She is a member of both the scholarly committee of the Italian National Edition of Luigi Boccherini’s Complete Works and the Advisory Board of the Francesco Geminiani’s Opera Omnia (Ut Orpheus Edizioni).

Improvisation (musique) --- Musique --- Baroque (musique). --- Histoire et critique. --- Baroque (musique) --- Improvisation (Music) --- Music --- Performance --- History --- History and criticism --- 78.25 --- Baroque music --- Interpretatie --- Uitvoeringspraktijk --- Improvisaties --- Barok --- 17e eeuw --- 18e eeuw