ABSTRACT

This article discusses approaches to improvisation from a learning perspective, using Irish traditional fiddle music as a case study. Within this genre, concepts of improvisation are largely implicit: many skilled musicians are engaged in spontaneous variation, without particular attention given to the phenomenon and without reference to the term improvisation. This is also evident in teaching practices, as demonstrated through a case study of a fiddle workshop during the 2016 Ennis Trad Fest. In this context, improvised variations emerge as intrinsic to the practice of playing tunes rather than as a separate layer of performance action to be taught independently. In line with this premise, the analysis invokes the concept of implicit learning to explore how particular arrangements of instructional activities may support the development of improvisational skills without being explicitly engaged with improvisation. Finally, the article introduces the notion of a principal difference between a work-oriented and a technique-/formula-oriented mode of learning and performance. The latter suggests a teaching approach marked by an attention to the practical exploration of expressive affordances through sound-producing movements (techniques) and correspondingly less attention to abstract principles (such as harmonic/intervallic rules and compositional concepts).

摘要

本文以爱尔兰传统小提琴音乐为例，从学习的角度讨论即兴创作的方法。在这一流派中，即兴创作的概念在很大程度上是隐含的：许多熟练的音乐家从事自发的变化，没有特别关注这种现象，也没有提到即兴创作这个词。这在教学实践中也很明显，正如 2016 年 Ennis Trad Fest 期间小提琴研讨会的案例研究所证明的那样。在这种情况下，即兴变奏作为演奏乐曲练习的内在体现，而不是作为独立教授的表演动作的单独层。在这个前提下，该分析援引内隐学习的概念来探索教学活动的特定安排如何在不明确参与即兴创作的情况下支持即兴技能的发展。最后，本文介绍了以工作为导向和以技术/公式为导向的学习和表现模式之间的主要区别的概念。后者提出了一种教学方法，其特点是通过发声动作（技术）关注表达能力的实际探索，并相应地较少关注抽象原则（如谐波/音程规则和作曲概念）。本文介绍了以工作为导向和以技术/公式为导向的学习和表现模式之间的主要区别的概念。后者提出了一种教学方法，其特点是通过发声动作（技术）关注表达能力的实际探索，并相应地较少关注抽象原则（如谐波/音程规则和作曲概念）。本文介绍了以工作为导向和以技术/公式为导向的学习和表现模式之间的主要区别的概念。后者提出了一种教学方法，其特点是通过发声动作（技术）关注表达能力的实际探索，并相应地较少关注抽象原则（如谐波/音程规则和作曲概念）。