重塑历史即兴创作

IF 0.4 2区 艺术学 0 MUSIC
Gilad Rabinovitch
{"title":"重塑历史即兴创作","authors":"Gilad Rabinovitch","doi":"10.30535/mto.26.2.11","DOIUrl":null,"url":null,"abstract":"Reimagining historical improvisation is a speculative pursuit: like any other aspect of historical performance practice, historical improvisations by living musicians create modern sounds (Taruskin 1995). However, historical notations, treatises, and accounts of performances provide substantial clues for reconstructing historical practices of improvisation (Gjerdingen 2007a; Levin 2009; Sanguinetti 2012; Guido 2017). Gjerdingen (2007a) highlights the role of phrase schemata in eighteenth-century music learning and creativity in composition, improvisation, or anywhere in between. Levin’s live improvisation in the style of Mozart at Cambridge University on October 29, 2012, captured on YouTube, serves as an analytical case study for the significance of conventional schemata in the musicianship of a living, elite-expert historical improviser. I reflect on Levin’s manipulations of schemata, allusions to the original pieces requested by the audience, as well as on interconnections between the various parts of his fantasy. Music analysis thus becomes here a reflection on improvisatory technique. The analysis also outlines the challenging listening horizons for audience members with significant experience in the style. Finally, our age of digital reproduction allows us to turn this ephemeral act of musical communication into an object for speculation, creating analytical “suggestions” for readers (Temperley 1999) or a listening guide for a historically-informed fantasy.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.4000,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Reimagining Historical Improvisation\",\"authors\":\"Gilad Rabinovitch\",\"doi\":\"10.30535/mto.26.2.11\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Reimagining historical improvisation is a speculative pursuit: like any other aspect of historical performance practice, historical improvisations by living musicians create modern sounds (Taruskin 1995). However, historical notations, treatises, and accounts of performances provide substantial clues for reconstructing historical practices of improvisation (Gjerdingen 2007a; Levin 2009; Sanguinetti 2012; Guido 2017). Gjerdingen (2007a) highlights the role of phrase schemata in eighteenth-century music learning and creativity in composition, improvisation, or anywhere in between. Levin’s live improvisation in the style of Mozart at Cambridge University on October 29, 2012, captured on YouTube, serves as an analytical case study for the significance of conventional schemata in the musicianship of a living, elite-expert historical improviser. I reflect on Levin’s manipulations of schemata, allusions to the original pieces requested by the audience, as well as on interconnections between the various parts of his fantasy. Music analysis thus becomes here a reflection on improvisatory technique. The analysis also outlines the challenging listening horizons for audience members with significant experience in the style. Finally, our age of digital reproduction allows us to turn this ephemeral act of musical communication into an object for speculation, creating analytical “suggestions” for readers (Temperley 1999) or a listening guide for a historically-informed fantasy.\",\"PeriodicalId\":44918,\"journal\":{\"name\":\"Music Theory Online\",\"volume\":\" \",\"pages\":\"\"},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2020-06-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Music Theory Online\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.30535/mto.26.2.11\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Music Theory Online","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.30535/mto.26.2.11","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 0

摘要

重塑历史即兴创作是一种推测性的追求:就像历史表演实践的任何其他方面一样,在世音乐家的历史即兴创作创造了现代声音(Taruskin 1995)。然而,历史符号、论文和表演描述为重建即兴创作的历史实践提供了实质性线索(Gjerdingen 2007a;Levin 2009;Sanguinetti 2012;Guido 2017)。Gjerdingen(2007a)强调了短语图式在18世纪音乐学习和创作、即兴创作或介于两者之间的创造力中的作用。2012年10月29日,莱文在剑桥大学以莫扎特风格进行的现场即兴创作在YouTube上被捕捉到,这是一个分析案例研究,探讨了传统图式在一位在世的精英历史即兴演奏家的音乐才能中的意义。我反思了莱文对图式的处理,对观众要求的原创作品的影射,以及他幻想的各个部分之间的相互联系。因此,音乐分析在这里成为对即兴演奏技巧的一种反思。该分析还概述了具有丰富风格经验的观众具有挑战性的听力视野。最后,我们的数字复制时代使我们能够将这种短暂的音乐交流行为变成一种猜测的对象,为读者创造分析性的“建议”(Temperley 1999),或为历史上知情的幻想提供听力指南。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Reimagining Historical Improvisation
Reimagining historical improvisation is a speculative pursuit: like any other aspect of historical performance practice, historical improvisations by living musicians create modern sounds (Taruskin 1995). However, historical notations, treatises, and accounts of performances provide substantial clues for reconstructing historical practices of improvisation (Gjerdingen 2007a; Levin 2009; Sanguinetti 2012; Guido 2017). Gjerdingen (2007a) highlights the role of phrase schemata in eighteenth-century music learning and creativity in composition, improvisation, or anywhere in between. Levin’s live improvisation in the style of Mozart at Cambridge University on October 29, 2012, captured on YouTube, serves as an analytical case study for the significance of conventional schemata in the musicianship of a living, elite-expert historical improviser. I reflect on Levin’s manipulations of schemata, allusions to the original pieces requested by the audience, as well as on interconnections between the various parts of his fantasy. Music analysis thus becomes here a reflection on improvisatory technique. The analysis also outlines the challenging listening horizons for audience members with significant experience in the style. Finally, our age of digital reproduction allows us to turn this ephemeral act of musical communication into an object for speculation, creating analytical “suggestions” for readers (Temperley 1999) or a listening guide for a historically-informed fantasy.
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
CiteScore
1.70
自引率
25.00%
发文量
26
审稿时长
42 weeks
期刊介绍: Music Theory Online is a journal of criticism, commentary, research and scholarship in music theory, music analysis, and related disciplines. The refereed open-access electronic journal of the Society for Music Theory, MTO has been in continuous publication since 1993. New issues are published four times per year and include articles, reviews, commentaries, and analytical essays. In addition, MTO publishes a list of job opportunities and abstracts of recently completed dissertations.
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术官方微信