Dissonance in the Expressive System and Performing Practice of Baroque Keyboard Music

Abstract

The research focused on the important aesthetic category of Baroque music — a dissonance, and methods of its interpretation in keyboard music of the era. The author has identified the key problem of stylus phantasticus in keyboard pieces’ interpretation. For the first time in Ukrainian historically informed performance it was noticed the ways to solve the sketchy notation of Johann Caspar Kerll’s keyboard works, whose style was influenced by Neapolitan style durezze e ligature, the manner of J. Frescobaldi. Music theory and performing practice of the 17th — 18th centuries recognizes the dissonance as a moving concept, creating an effect of both movement and tension, so the performing tradition required that dissonance should be manifested in every possible way so the performer should subordinate performance primarily to harmony, rhythm and emphasis, overcoming from time to time the regularity of metric pulsation. Kerll’s manner of composing his Toccata at first glance is regulated. However, in the case of a literal reading of the piece schematic notation, sound and rhythmic monotony occurs. Relying on the methods of contemporary researches and recommendations of Baroque authors it was proposed the methods for deciphering musical notes of Toccata: chords, dissonances, ornamentation, articulation techniques and agogics, which individualize and make expressive every next performance of stylus phantasticus keyboard piece. Systematizing experience of interpretation methods for early Baroque keyboard music gives reason to compile a base for theoretical background for future research by young generation of Ukrainian musicians, being just at the beginning of their carrier. This investigation significantly expands the perception of listeners and professional musicians about aesthetic conventions of Baroque keyboard performing art.