중세와 르네상스의 즉흥연주

서지정보

ㆍ발행기관 : 연세대학교 음악연구소 ㆍ수록지정보 : 음악이론포럼 / 14권
ㆍ저자명 : 장우형

영어 초록

If we define improvisation in the Middle Ages as "not noted playing method," we will find clearly their root first in neumas. The decoration neumas Quilisma, Oriscus, Pressus, Salicus, Strophicus and Caphalicus shows different ornaments, which are not to be found no more in the later age. This phenomenon shows a possibility that the not noted playing method in music history was attended. In the case of the Fauxbourdons the are highest voice, which is the Cantus Firmus, and the lowest voice, which runs exactly sixth or octave down, are noted, but the middle voice, which shows a fourth parallel, does not note, but of player supplements. As many think, this middle voice does not stand for 1:1 to the other voices, but those show surprisingly substantial ornaments. The highest development of ``not noted playing method`` is the art of the Diminutio in later Renaissance. The Diminutio means to divide the long note into smaller ornamented notes. It is mentioned in a document first in the year 1552 by Adrian Petit Coclico`s ``Compendium musices`` erw ae, afterwards Hermann Finck`s Practica Musica, Lodovico Zacconi`s Prattica di musica, Giulio Caccini`s Le Nuove Musiche, Giovanni Bassano`s "Motetti, Madrigali et Canzoni francese," Michael Praetorius`s Syntagma musicum III, as the latter in the year 1643 Christoph Bernhard`s Musica Practica. That is approx 100 years continuing ``not noted playing method`` in music history. The improvisation in Middle age and Renaissance begins in decoration neumas in monophonic music, developed than ornament art in Fauxbourdon, than highest development continues to show it in Diminutio.

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