Thesis
Fugal improvisation in the Langloz manuscript
University of Iowa
Master of Arts (MA), University of Iowa
Spring 2024
DOI: 10.25820/etd.007331
Abstract
The purpose of this thesis is to understand fugal improvisation from the perspective of the Langloz Manuscript. As one of the largest German sources of partimento fugues from the early eighteenth century, the Langloz enabled keyboard players to assimilate different conceptual models such as thoroughbass, fugue, and the rule of the octave (RO) that allowed them to improvise fugues. The manuscript is challenging for modern musicians because there are no written instructions, and the scores consist of sketches that must be deciphered. This study offers guidance on how to approach this document. For that reason, Chapter 1 is a broad survey of the meaning of improvisation from the perspectives of philosophy, psychology, and musical cognition. I argue that fugal improvisation is a complex task that is bound by physical, temporal, and cognitive constraints. Chapter 2 explores the cognitive constraints through the analysis of the historical conceptual models known to musicians of the time. A rich heritage of musical theories are linked to the emergence of the Langloz manuscript. Finally, Chapter 3 examines eight fugues from the Langloz manuscript to determine their general traits of design along with the challenges an improvisor might encounter that require creative choices to create musical coherence. I propose that duo modules play an important role in providing sufficient information from which solutions of realization can be inferred. In addition, many fugal subjects share similar schematic patterns that aid improvisation. This thesis suggests a historical reinterpretation of the meaning and boundaries between the conceptual models that make fugal improvisation possible within the Langloz manuscript.
Details
- Title: Subtitle
- Fugal improvisation in the Langloz manuscript
- Creators
- Miguel Augusto Quintero Perdomo
- Contributors
- Matthew Arndt (Advisor)Marian Wilson Kimber (Committee Member)Joshua Albrecht (Committee Member)
- Resource Type
- Thesis
- Degree Awarded
- Master of Arts (MA), University of Iowa
- Degree in
- Music (Music Theory)
- Date degree season
- Spring 2024
- Publisher
- University of Iowa
- DOI
- 10.25820/etd.007331
- Number of pages
- viii, 99 pages
- Copyright
- Copyright 2024 Miguel Augusto Quintero Perdomo
- Language
- English
- Date submitted
- 04/18/2024
- Description illustrations
- illustrations (some color), music
- Description bibliographic
- Includes bibliographical references (page 95-99).
- Public Abstract (ETD)
In the eighteenth-century musical improvisation was an essential skill for professional musicians. The ability to create music on the spot was a complex task that involved numerous hours of study to develop motor skills and familiarity with a musical vocabulary that is shaped by cultural conventions. This study examines keyboard improvisation in the Langloz manuscript; an early eighteenth-century German source that contains short pieces called partimento fugues. The scores of these musical puzzles are partially written so that a knowledgeable improvisor can add melodies and harmonies. In this thesis, I offer a set of guidelines on how to approach this document.
Chapter 1 aims at a broad view of the meaning of improvisation in different areas such as philosophy, psychology, and musical cognition. Chapter 2 describes the historical knowledge a musician of the time would be familiar with, tracing the development and synthesis of different areas of knowledge that are essential to understanding the Langloz manuscript. Finally, Chapter 3 closely examines eight fugues which exemplify common traits in their design. I propose solutions to particular sections and also offer some full realizations of possible improvised solutions. This initial study hopes to revive interest in historical improvisation, a seemingly lost art.
- Academic Unit
- School of Music
- Record Identifier
- 9984647556502771
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