Some (Dis)Assembly Required: Modularity in the Keyboard Improvisation Pedagogy of Jacob Adlung and Johann Vallade
Main Article Content
Abstract
A previously unknown manuscript treatise by the central-German organist, Jacob Adlung (1699–1762), has recently come to light. The “Anweisung zum Fantasieren†offers a valuable glimpse into improvisational training of baroque keyboardists. Adlung’s treatise consists of twenty-eight sequential voice-leading patterns with various embellishments. Conspicuously absent, however, is a clear explanation of exactly how one should combine these patterns into larger preludes. Fortunately, the pedagogical works of the south-German organist, Johann Vallade (c.1722–c.1780), provide useful models. Unlike Adlung, Vallade begins with a complete piece and then deconstructs it into smaller sections that can be rearranged in a variety of configurations. I argue that Vallade’s top-down approach forms a complementary pair to Adlung’s bottom-up method, since modularity is the underlying principle of both strategies. Following Adlung’s example, I categorize modules (voice-leading patterns) according to the motion of the bass voice: either scalar, sequential, or cadential. By exploring the definition, classification, and concatenation of such modules, this article offers practical insight into the historically informed improvisation and analysis of baroque music.
Article Details
Copyright © 2019 by the Society for Music Theory. All rights reserved.
[1] Copyrights for individual items published in Music Theory Online (MTO) are held by their authors. Items appearing in MTO may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may not be republished in any form, electronic or print, without prior, written permission from the author(s), and advance notification of the editors of MTO.
[2] Any redistributed form of items published in MTO must include the following information in a form appropriate to the medium in which the items are to appear:
This item appeared in Music Theory Online in [VOLUME #, ISSUE #] on [DAY/MONTH/YEAR]. It was authored by [FULL NAME, EMAIL ADDRESS], with whose written permission it is reprinted here.
[3] Libraries may archive issues of MTO in electronic or paper form for public access so long as each issue is stored in its entirety, and no access fee is charged. Exceptions to these requirements must be approved in writing by the editors of MTO, who will act in accordance with the decisions of the Society for Music Theory.
This document and all portions thereof are protected by U.S. and international copyright laws. Material contained herein may be copied and/or distributed for research purposes only.