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Improvised Ornamentation in 18th-Century Theory and Practice Improvised Ornamentation in 18th-Century Theory and Practice
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Vocal Ornamentation Vocal Ornamentation
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The Performance of Recitative The Performance of Recitative
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Recitative Accompaniment Recitative Accompaniment
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Improvised Ornamentation in Songs Improvised Ornamentation in Songs
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Changing Attitudes towards Vocal Ornamentation Changing Attitudes towards Vocal Ornamentation
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Improvised Ornamentation in 18th- and Early-19th-Century Instrumental Music Improvised Ornamentation in 18th- and Early-19th-Century Instrumental Music
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The Fermata The Fermata
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Improvised Embellishment: Correct and Beautiful Performance Improvised Embellishment: Correct and Beautiful Performance
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13 Improvised Ornamentation and Embellishment
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Published:February 2025
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Abstract
During the 18th and early 19th centuries, the ornamentation and embellishment of all kinds of music by performers was endemic and, in many respects, fundamental to the aesthetic experience of composer, performer, and listener alike. It became increasingly uncommon in German music during the 19th century but remained, though to a more limited extent, in opera, especially Italian opera. The chapter deals with 18th-century theory and practice, the performance of recitative, ornamentation in songs, including Schubert Lieder, and the treatment of fermatas. It also focuses on more subtle kinds of improvised embellishment, not necessarily involving the interpolation of additional notes, which were seen as an essential aspect of beautiful performance throughout the century.
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