{"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":null,"pages":null},"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\":null,\"pages\":null},\"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}
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.
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.