This volume offers the first systematic exploration of the close relationship among improvisation, music theory, and practical musicianship from late Renaissance into the Baroque era. For several categories of musicians, the teaching of counterpoint happened almost entirely through practice on their own instruments. In the Renaissance and Baroque eras, composing in the mind ( alla mente) had an important didactic function. This historically informed practice is now supplanting the late Romantic view of improvised music as a rhapsodic endeavour-a musical blossoming out of the capricious genius of the player-that dominated throughout the twentieth century. In recent years, scholars and musicians have become increasingly interested in the revival of musical improvisation as it was known in the Renaissance and Baroque periods.
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