Keyboard improvisation was a common performance and pedagogical practice of the fifteenth and sixteenth centuries. The practice of improvisation is no longer considered an essential skill, as it was in former centuries. Yet improvisation is invaluable for developing creativity, interpretation, and spontaneity in musical performance.;Three treatises are reviewed for pedagogical methods in teaching improvisation: Fundamentum organisandi (1452) by Conrad Paumann, Compendium musices (1552) by Adrian Petit Coclico, and Arte de taner fantasia (1565) by Tomas de Santa Maria. These methods are then employed in developing lesson plans to teach improvisational skills to children who have had little or no previous piano experience.;The practicality and effectiveness of the lessons plans are tested on a class of eight fourth and fifth grade students in Chelsea, Michigan. The results of the research are reviewed and discussed. Options for further development are presented.
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机译:键盘即兴演奏是十五和十六世纪的普遍表现和教学实践。即兴演奏的做法不再像过去的几个世纪那样被视为必不可少的技能。然而,即兴创作对于发展音乐表演的创造力,诠释和自发性具有无价的价值。;对即兴演奏教学法的三种方法进行了审查:康拉德·鲍曼(Conrad Paumann)的Fundamentum Organisandi(1452),阿德里安·佩蒂特·科克利科(Adrian Petit Coclico)的简史音乐(1552)和Arte de棕褐色幻想曲(1565),作者:托马斯·德·圣玛丽亚。然后将这些方法用于制定教学计划,以向没有或几乎没有钢琴经验的孩子教授即兴技能。;在密歇根州切尔西的八名四年级和五年级学生的班级上测试了该计划的实用性和有效性。研究的结果进行了审查和讨论。提供了进一步开发的选项。
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