Musical Offerings Volume 3 Number 1 Spring 2012 Article 3 2012 Improvisation: Performer as Co-composer Kyle Schick Cedarville University,
[email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the Music Performance Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to
[email protected]. Recommended Citation Schick, Kyle (2012) "Improvisation: Performer as Co-composer," Musical Offerings: Vol. 3 : No. 1 , Article 3. DOI: 10.15385/jmo.2012.3.1.3 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol3/iss1/3 Improvisation: Performer as Co-composer Document Type Article Abstract Elements of musical improvisation have been present throughout the medieval, renaissance, and baroque eras, however, improvisation had the most profound recorded presence in the baroque era. Improvisation is inherently a living practice and leaves little documentation behind for historians to study, but however elusive, it is still important to trace where instances of this improvised art appear throughout the eras listed above. It is also interesting to trace what role improvisation would later have in realizing the Baroque ideals of emotional expression, virtuosity, and individuality. This paper seeks to focus on a few of the best documented mediums of improvisation within each era.