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Music

Main article: Musical improvisation


Improvisation is usually defined as the composition of music while simultaneousl
y singing or playing an instrument. In other words, the art of improvisation can
be understood as composing music "on the fly". Improvisation can take place as
a solo performance, or interdependently in ensemble with other players. When don
e well, it often elicits gratifying emotional responses from the audience. One n
otable improvisational pianist is Franz Liszt. The origins of Liszt's improvisat
ion in an earlier tradition of playing variations on a theme were mastered and e
pitomized by Johann Sebastian Bach, Wolfgang Amadeus Mozart, and Ludwig van Beet
hoven.
Notable improvisational musicians from the modern era include: Keith Jarrett, an
improvisational jazz pianist and multi-instrumentalist who has performed many c
ompletely improvised concerts all over the world; W.A. Mathieu aka William Allau
din Mathieu, was the musical director for the Second City in Chicago, the first
on-going improvisational theater troupe in the United States, and later was musi
cal director for another improv theater, the Committee (improv group), an off-sh
oot of the Second City in San Francisco. Derek Bailey, an improvisational guitar
ist, Stephen Nachmanovitch, an improvisational violinist, and Eugene Friesen, an
improvisational cellist.
Improvised freestyle rap is commonly practiced as a part of rappers' creative pr
ocesses, as a "finished product" for release on recordings (when the improvisati
on is judged good enough), as a spiritual event, as a means of verbal combat in
battle rap, and, simply, for fun. It often incorporates insults similar to those
in the African-American game the dozens, and complex rhythmic and sometimes mel
odic forms comparable to those heard in jazz improvisation.
A few pianists[who?] have given modern recitals of improvisation in the baroque
style. There have also been a few other exceptional improvised solo piano concer
ts[who?] in Stuttgart, Southern Germany in the 1990s.
In the realm of silent film music, there are also a small number of musicians wh
ose work has been recognized as exceptional by critics, scholars and audiences a
like; these include Neil Brand and John Sweeney, among others who are all perfor
mers at "Le Giornate del Cinema Muto", the annual conference on silent film in P
ordenone, Italy. Their performances must match the style and pacing of those fil
ms which they accompany and the knowledge of a wide range of musical styles is r
equired, as well as the stamina to play for films which occasionally run more th
an three hours in length, without a pause.

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