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Music improvisation and social inclusion
Contemporary Music Review Pub Date : 2019-09-03 , DOI: 10.1080/07494467.2019.1684057
Franziska Schroeder , Koichi Samuels , Rebecca Caines

The improviser abandons self to the moment; abandons momentarily the world of necessity and causality for a world of possibility and free will. Things do not happen by necessity, nor by chance. They simply happen. Listening is the primary act. Performing is the secondary act. Every sound that one makes is a response to a sound one has heard. A solo improviser must respond to sounds made by self, as though made by another person. There is no solo without a group. In improvising we must momentarily suspend the sense of self, and of our own identity. This is a game which can be dangerous if not played under controlled conditions. Under uncontrolled conditions, it can lead to insanity. Identity is learned. It is useful for survival. It is essential to remember who we are and what we are doing while we are crossing a street. At the same time, it is important not to think about every movement we make. We must trust the unconscious. When we act, we momentarily free ourselves from reflection. We simply act. (Rzewski 2006)

中文翻译:

音乐即兴创作和社会包容

即兴演奏者暂时放弃自我;暂时放弃必然性和因果性的世界,转而进入一个充满可能性和自由意志的世界。事情的发生不是必然的,也不是偶然的。它们只是发生了。聆听是主要行为。表演是次要行为。人发出的每一种声音都是对听到的声音的回应。独奏即兴演奏者必须对自己发出的声音做出反应,就好像由另一个人发出的声音一样。没有团体就没有独奏。在即兴创作中,我们必须暂时搁置自我意识和我们自己的身份意识。这是一款如果不在受控条件下进行的游戏,可能会很危险。在不受控制的情况下,它可能导致精神错乱。身份是学来的。它对生存很有用。当我们过马路时,记住我们是谁以及我们在做什么是至关重要的。同时,重要的是不要考虑我们所做的每一个动作。我们必须相信无意识。当我们采取行动时,我们会暂时从反思中解脱出来。我们只是行动。(热夫斯基 2006)
更新日期:2019-09-03
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