An investigation into the use of the 8’ and 16’ violone in the music leading up to and including J. S. Bach’s compositions in northern Germany in the 17th and 18th centuries.
The research is focused on the development of the interaction between a live coder and an acoustic musician with focus on the pianist in particular.
The thesis presents a new perspective on Giovanni Girolamo Kapsperger (ca.1580-1651), who is nowadays only famous for his works for theorbo and lute, his remarkable output of vocal music of all genres being still mostly neglected from musicologists and performers.
The thesis wishes to examine the pathways of thought underlying the creative act of music making and the performance practice of complex music from the late twentieth and early twenty-first century. The questions at stake in the case of a ‘new’ complexity score, that is to say what is the significance of the extreme complex notation, are the score and the music playable and do they work, and how and under what condition do they work, these are the issues to be resolved by the performer.