By Barba, Victor M.
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With minimal opportunity to plan one’s moves before making them’). This concords with dictionary deﬁnitions of schediasma as whim or caprice and of schediazo as acting oﬀ-hand, giving free play, or pejoratively acting with insuﬃcient care. Translating these concepts with the word ‘improvisation’ presupposes its prior negative loading, which would pre-empt the kind of neutrality for which Nettl’s authors aim. ⁵ The Poetics of Aristotle:Translation and Commentary (Chapel Hill, NC, 1987) ⁶ Avicenna’s Commentary on the Poetics of Aristotle, trans.
311. ²⁴ Details are given in my essay ‘Regarding Meter and Rhythm in the Ars Antiqua’, MQ 65 (1979), 524–58. g. Craig Wright, Music and Ceremony at Notre Dame of Paris 500–1550 (Cambridge, 1989), 159. ²⁶ ‘Ars Nova and Stil Novo’, in Music and Culture in Italy from the Middle Ages to the Baroque, 27. Medie val Impr ovisat i on 13 It is the music of the Ars nova that gets our attention, inevitably, because we can still perform it and hear it and study it. But that gives us a view of history that is in a way distorted, especially for this period of the late Middle Ages when written music was rather special and exceptional.
However closely this catches ‘the American public conception’, a stereotyped contrast between the ‘discipline, reliability, and predictability’ of Western classical art music and the ‘absence of precise planning and discipline’ of other, especially improvised, musics, is certainly in evidence in the modern literature on medieval chant. It is what has made it so diﬃcult to conceive of chant as an improvisatory art. In the face of that stereotype I invite a comparison between the Gregorian tract Deus, Deus meus (CD track 9), which is discussed in Chapter 6, and the modern American blues song Goin’ Away (CD track 10), composed and performed by Lightnin’ Hopkins.
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