Musicologist, Robert Gjerdingen, in 2007, published "Music in the Galant Style", which analyzed Classical Western music of the late Baroque era through a theoretical antiquated and esoteric tool of elite musical pedagogy used within the Italian conservatories of music. This tool had been the realization of essential phrase tendencies, both harmonic and melodic, to an initial proffered element of music. These "phrase tendencies" are known as "schemata."
These would have been, not merely taught, but cultured, into the music student's aesthetic. Just as most any classically trained musician today may sing a palpable end to a Mozartian phrase, so too had composers been trained to respond to tens, even hundreds of thousands of musical elements.
I theorize that schemata are, whether yet realized or not, naturally existent within any and every culture of music known to humankind. American Classical (colloquially known as "jazz") holds, at its core, a tremendous vocabulary, numbering hundreds of thousands of musical elements. These would be, in their own right, nothing less than "Jazz Schemata."
In this work, Caprice No. 5 in E Minor, Op. 2, it is my goal to write out my theme (mm. 1 - 8) as the proffered musical element, and use the antiquated pedagogical tool of "jazz schemata" to train the Western Classical violinist in the genre of American Classical.
It is my hope that schemata may become the focus of musical pedagogy in the direction of globalizing all classical music forms— from the Shrutis, Ragas, and Talas of Carnatic music (Indian Classical) to the Symphonies, Concertos, and Sonatas of Western Classical ("Classical") to the Blues, Swing, and Folk of American Classical (Jazz) and so forth.
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