Creativity in Seventeenth-Century Music
The early modern period witnessed important societal shifts that eventually affected both the employment status of professional musicians and their creative approaches. Throughout the seventeenth century, however, most composition continued to be carried out by musicians employed within the traditional patronage system according to long-established creative principles often unfamiliar to us today. Apprentice composers learned by modeling new pieces on preexisting works by esteemed authority figures and through improvisation techniques, using standard formulae as building blocks. Both this improvisatory foundation and the simple melody-plus-bass style of many genres meant that notation was frequently unnecessary in the initial creative stages—although erasable materials were sometimes used by inexperienced composers and for complex, erudite music—and there was no direct relationship between the creation of a notated source and stages in the compositional process. Creativity was also frequently a collaborative endeavor, involving numerous contributors: the named composer might compose only the core melody and bass, with inner parts either provided by musicians employed to “set” the composition for the required ensemble or filled in by a continuo player. It was also a graduated process, with works often being subjected to successive bouts of reworking by multiple musicians, not only revising and adapting the music to suit new performing contexts but also making changes as a matter of course, in a process of “serial recomposition.” The result was a creative culture in which works were in a constant state of flux, as they were perpetually renewed and reinvigorated by a multilayered creative community.