{"id":30655,"date":"2013-08-02T11:45:53","date_gmt":"2013-08-02T09:45:53","guid":{"rendered":"https:\/\/www.cini.it\/?post_type=cini_events&p=30655"},"modified":"2024-07-26T11:08:56","modified_gmt":"2024-07-26T09:08:56","slug":"30655","status":"publish","type":"cini_events","link":"https:\/\/www.cini.it\/en\/eventi\/30655\/","title":{"rendered":"Con la mente e con le mani. Improvisation from \u2018cantare super librum\u2019 to partimenti"},"content":{"rendered":"

Con la mente e con le mani. Improvisation from \u2018cantare super librum\u2019 to partimenti<\/i>\u00a0<\/i>is the title of the second in a series of\u00a0meetings organized by Institute of Music on improvised music in various historical periods. This\u00a0event, dedicated to improvisation\u00a0in the Renaissance and Baroque and organized in collaboration with McGill University thanks to the generous support of the Social Science and Humanities Research Council of Canada, continues the line of thought\u00a0begun at the conference Improvised Music in Europe: 1966-1976<\/i>\u00a0in\u00a0November 2012.<\/span><\/p>\n

In recent years, scholars and musicians have focused on the revival of improvisation as it was known in the Renaissance and Baroque. This historically informed practice is replacing the late Romantic concept of improvisation as a rhapsody, blossoming out the capricious genius of the player. In the Renaissance and Baroque, composing in the mind (alla mente) had an important didactic function, and it induced a better assimilation of the contrapuntal vocabulary by repetition and memorization of patterns and models. For several categories of musicians, the teaching of counterpoint happened almost entirely through practice on their own instrument: singers learned to improvise canons on a cantus firmus and make diminutions on a motet; organists seeking important positions had to be able to play with fantasia, answering the choir with versets, ricercari, and intonations.<\/span><\/p>\n

The event is a real laboratory for improvisation and teaching, with lectures, panel discussions, lecture-recitals and musical demonstrations. The central theme will be how one can use improvisation today in theory teaching, and how it can be integrated into the different curricula around the world.<\/span><\/p>\n

Download the program<\/a><\/span><\/p>\n

Program<\/strong><\/span><\/p>\n

Saturday 9 November 2013<\/span><\/p>\n

1 p.m.<\/span><\/p>\n

Registration<\/span><\/p>\n

2 \u2013 2.45 p.m.<\/span><\/p>\n

Opening Address<\/b><\/span><\/p>\n

Massimiliano Guido & Peter Schubert (McGill University, Montr\u00e9al)<\/span><\/p>\n

Gianmario Borio (Istituto per la Musica, Fondazione Giorgio Cini, Venezia)<\/span><\/p>\n

2.45 \u2013 3.45 p.m.<\/span><\/p>\n

Keynote Lecture: Theory in the Midst of Notes<\/b><\/span><\/p>\n

Thomas Christensen (University of Chicago)<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Keeping Score while Improvising<\/i><\/span><\/p>\n

4 \u2013 6 p.m.<\/span><\/p>\n

First Session: The Art of Memory<\/b><\/span><\/p>\n

Chair: Gianmario Borio<\/span><\/p>\n

Stefano Lorenzetti (Conservatorio di Musica di Vicenza)<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Musical Inventio, Loci Communes, and the Art of Memory<\/i><\/span><\/p>\n

Discussant: Roberto Perata (Universit\u00e0 Statale di Milano)<\/span><\/p>\n

Massimiliano Guido (McGill University)<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Climbing the Stairs of the Memory Palace: Gestures at the Keyboard for a Flexible Mind<\/i><\/span><\/p>\n

Discussant: Arnaldo Morelli (Universit\u00e0 de L\u2019Aquila)<\/span><\/p>\n

6.30 p.m.<\/span><\/p>\n

Lecture-Recital<\/b><\/span><\/p>\n

Bor Zuljan (Haute \u00c9cole de Musique de Gen\u00e8ve)<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2018Ricercar una Fantasia\u2019: The Techniques for Improvising a Fantasia on Lute in the Sixteenth Century<\/i><\/span><\/p>\n

Sunday 10 November 2013<\/span><\/p>\n

9.30 \u2013 10 a.m.<\/span><\/p>\n

Poster Session: Ongoing Researches in Historical Improvisation<\/b><\/span><\/p>\n

Niels Berentsen (Royal Conservatoire of The Hague)<\/span><\/p>\n

Strategies for Improvisation in Early Fifteenth and Late Fourteenth Century Music<\/i><\/span><\/p>\n

Jacques Meegens (Centre \u00c9tudes Sup\u00e9rieures Musique Danse, Poitou-Charentes)<\/span><\/p>\n

Improvising a Fifteenth-Century Keyboard Prelud<\/i><\/span><\/p>\n

<\/i>\u00a0Peter van Tour (Uppsala University)<\/span><\/p>\n

Modulatory Segments in Partimenti by Nicola Sala and Fedele Fenaroli<\/i><\/span><\/p>\n

10 a.m. \u2013 1.15 p.m.<\/span><\/p>\n

Second Session: Instrumental Counterpoint and Improvisation<\/b><\/span><\/p>\n

Chair: Massimiliano Guido<\/span><\/p>\n

Edoardo Bellotti (Eastman School of Music, Rochester University)<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Composing at the Keyboard: Banchieri and Spiridion, Two Complimentary Methods<\/i><\/span><\/p>\n

Discussant: Felix Marangoni (Universit\u00e0 Ca\u2019 Foscari, Venezia)<\/span><\/p>\n

William Porter (Eastman School of Music, Rochester University)<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Improvising a North German Preambulum<\/i><\/span><\/p>\n

Discussant: Jacques Meegens (Centre \u00c9tudes Sup\u00e9rieures Musique Danse, Poitou-Charentes)<\/span><\/p>\n

Giorgio Sanguinetti (Universit\u00e0 di Roma Due \u2018Tor Vergata\u2019)<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Cheating the Work-of-Art Paradigm: Partimento Implication for Classical Performers<\/i><\/span><\/p>\n

Discussant: Marco Pollaci (Nottingham University)<\/span><\/p>\n

3 \u2013 5 p.m.<\/span><\/p>\n

Third Session: Vocal Counterpoint and Improvisation<\/b><\/span><\/p>\n

Chair: Peter Schubert<\/span><\/p>\n

Philippe Canguilhelm (University of Toulouse)<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Towards a Stylistic History of \u2018Cantare super Librum\u2019<\/i><\/span><\/p>\n

Discussant: Peter van Tour (Uppsala University)<\/b><\/span><\/p>\n

Giuseppe Fiorentino (University of Cantabria)<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Singing \u2018by Reason\u2019 and Singing \u2018by Use\u2019: Extempore Polyphonies in Renaissance Spain<\/i><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/b>Discussant: Niels Berentsen (Royal Conservatoire of The Hague)<\/b><\/span><\/p>\n

6 p.m.<\/span><\/p>\n

Musical Demonstrations: Keyboard & Vocal Improvised Music<\/b><\/span><\/p>\n

\u00a0<\/b>Instruments<\/i>: Edoardo Bellotti & William Porter, harpsichords<\/span><\/p>\n

Presentation of the Fondazione Accademia Internazionale di Smarano<\/i>: Giacomo Corr\u00e0<\/span><\/p>\n

\u00a0<\/i>Voices<\/i>: Benjamin Duinker, Edmund Milly, Ellen Wieser, and Meagan Zantingh, singers from VivaVoce \u2013 Peter Schubert, conductor<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Monday 11 November 2013<\/span><\/p>\n

9 \u2013\u00a011 a.m.<\/span><\/p>\n

Fourth Session: Pedagogy<\/b><\/span><\/p>\n

Chair: Thomas Christensen<\/span><\/p>\n

Jean-Yves Haymoz (Haute \u00c9cole de Musique de Gen\u00e8ve)<\/span><\/p>\n

Cantare super Librum: Strategies and Techniques.<\/i><\/span><\/p>\n

Lecture and Workshop with Professional Singers<\/i><\/span><\/p>\n

Peter Schubert (McGill University, Montr\u00e9al)<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Teaching Theory through Vocal Improvisation<\/i><\/span><\/p>\n

<\/i>Michael Callahan (Michigan State University)<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Play It: Some Challenges of, and Solutions to, Teaching and Learning Undergarduate Music Theory at the Keyboard<\/i><\/span><\/p>\n

12 \u2013 12.30 p.m.<\/span><\/p>\n

Panel Discussion: Improvisation as a Teaching and Analytical Tool<\/b><\/span><\/p>\n

\u00a0<\/b><\/span><\/p>\n","protected":false},"author":1,"featured_media":31480,"template":"","meta":{"_acf_changed":false,"footnotes":""},"cini_tax_event_categories":[1594,1465],"cini_tax_institutes":[21],"cini_tax_event_locations":[1610],"class_list":["post-30655","cini_events","type-cini_events","status-publish","has-post-thumbnail","hentry","cini_tax_event_categories-convegni-e-seminari-2","cini_tax_event_categories-meetings","cini_tax_institutes-music-en","cini_tax_event_locations-isola-di-san-giorgio-maggiore-venezia-2"],"acf":[],"yoast_head":"\nCon la mente e con le mani. 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