Jakob Adlung’s recently rediscovered manuscript treatise, ‘Anweisung zum Fantasiren’ (‘Instruction in improvisation’, c.1725–7), proves definitively that some 18th-century musicians understood improvisation modularly in terms of stock voice-leading patterns, or schemas. The manuscript is a compendium containing 28 typical voice-leading patterns that are to be memorized, varied and combined in myriad ways. Adlung’s treatise is thus of particular value, not only because of its numerous musical examples and extensive textual commentary, but because it reveals some of the musical and social expectations of the average central German church organist in the early 18th century. This article offers an introduction to the treatise in the context of Adlung’s biography, with an online appendix containing a critical edition of the treatise and an English translation.

中文翻译：

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Jakob Adlung 的“Anweisung zum Fantasiren”（c.1725-7）：版本、翻译和介绍

Jakob Adlung 最近重新发现的手稿论文“Anweisung zum Fantasiren”（“即兴演奏指导”，c.1725-7）明确地证明，一些 18 世纪的音乐家根据股票语音引导模式或模式来模块化地理解即兴创作。手稿是一个纲要，包含 28 种典型的语音引导模式，这些模式需要以多种方式进行记忆、变化和组合。因此，Adlung 的论文具有特殊价值，不仅因为其众多的音乐示例和广泛的文本评论，还因为它揭示了 18 世纪早期德国中央教堂管风琴师的一些音乐和社会期望。本文在 Adlung 传记的背景下介绍了这篇论文，