乔治·克拉姆个人音乐简介

IF 0.3 2区 艺术学 0 MUSIC
Yati Durant
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引用次数: 0

摘要

1997年,纽约大学在校园里演出了乔治·克拉姆(George Crumb)为电笛、大提琴和放大钢琴创作的《Balaenae之声》(Vox Balaenae, 1971),并与作曲家进行了交谈。这是我第一次与克拉姆以及他的音乐风格和思想进行个人互动。这也是他和他的音乐对我24年音乐发展影响的开始。在与Crumb的谈话中,听众被邀请向他提问有关他的技巧的问题。我举手问他对即兴创作的看法:“你对在音乐会作品中使用即兴创作有什么看法?”作为一名即兴演奏者和作曲家,我当时并不熟悉克拉姆的自由主义风格和复杂的乐谱,我的印象是,沃克斯·巴拉恩尼的性格至少是受到了即兴练习的影响。它那无定形的节拍和不可预测的模式,《Balaenae之声》在我听来几乎就像一首爵士乐!然而,George Crumb回答了我的问题,他说他相信在这部作品中真的没有任何特别的即兴或随意的需要,所有这些技巧都可以很好地作为乐谱中的音符音乐。对我来说,他的观察既有趣又自相矛盾。这样一种自发的音乐怎么能把自己限制在符号惯例中呢?要想成功地诠释乔治·克拉姆的音乐,使其看起来像是即兴创作,需要哪些方面的表演实践?什么样的乐谱能产生这种效果呢?当代西方音乐符号是一种极其复杂的语言,有成千上万的图形符号,几何和对称功能,高度当代音乐评论,2022年第41卷,第1期,1 - 3,https://doi.org/10.1080/07494467.2022.2033565
本文章由计算机程序翻译,如有差异,请以英文原文为准。
A Personal Musical Introduction to George Crumb
In 1997, New York University presented George Crumb’s composition Vox Balaenae (1971) for electric flute, cello and amplified piano at an on-campus performance, preceded by a talk with the composer. This was my first personal interaction with Crumb and his musical style and thought. It was also the beginning of a twenty-four-year influence that he and his music has had on my musical development. During the talk with Crumb, audience members were invited to ask him questions about his technique. I raised my hand and asked for his thoughts on improvisation: ‘What is your opinion regarding the use of improvisation in your concert works?’. As an improvisor and composer, unfamiliar with Crumb’s liberal style of sophisticated notation at that time, my impression was that much of Vox Balaenae’s character must have been at least informed by improvisational practice. With its amorphous metres and unpredictable patterns, Vox Balaenae sounded to me in performance almost like a jazz piece! However, George Crumb responded to my question by stating that he believed that there really isn’t any specific need for improvisation or aleatory in this work and that all of these techniques work just fine as notated music within the score. To me, his observation was just as intriguing as it was paradoxical. How could such a spontaneous music restrict itself to notational conventions? What aspects of performance practice were needed to successfully interpret George Crumb’s music that could make it seem like an improvisation? What kind of music notation could create this sort of effect? Contemporary Western musical notation is an incredibly complex language with thousands of graphic symbols, geometric and symmetrical functions, and a highly Contemporary Music Review, 2022 Vol. 41, No. 1, 1–3, https://doi.org/10.1080/07494467.2022.2033565
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来源期刊
CiteScore
1.00
自引率
25.00%
发文量
48
期刊介绍: Contemporary Music Review provides a forum for musicians and musicologists to discuss recent musical currents in both breadth and depth. The main concern of the journal is the critical study of music today in all its aspects—its techniques of performance and composition, texts and contexts, aesthetics, technologies, and relationships with other disciplines and currents of thought. The journal may also serve as a vehicle to communicate documentary materials, interviews, and other items of interest to contemporary music scholars. All articles are subjected to rigorous peer review before publication. Proposals for themed issues are welcomed.
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