Duration of playing bursts and redundancy of melodic jazz improvisation in John Coltrane’s “Giant Steps”
Duration of playing bursts and redundancy of melodic jazz improvisation in John Coltrane’s “Giant Steps”
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约翰·科尔特兰 (John Coltrane) 的《巨人脚步》中的演奏爆发持续时间和旋律爵士乐即兴创作的冗余
DOI：
10.1177/1029864916649637
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发表时间：
2016
影响因子：
2.4
通讯作者：
Stephan Goldhahn
中科院分区：
文献类型：
--
作者：
A. Lehmann;Stephan Goldhahn
研究音乐即兴创作在方法论上是困难的，因为即兴创作很难复制，并且没有关于其形成的既定理论。特别是爵士音乐家何时以及是否发明新的（创新的）旋律模式或依赖于以前过度学习的（冗余的）短语还不清楚。其他类似的高复杂性目标导向活动是生产任务，如驾驶汽车（Tanida & Pöppel，2006）或生产口语（Fenk-Oczlon & Fenk，2009）。在高速即兴创作中，在极端的时间压力下，可以预期故意的认知过程和自动化执行之间的权衡，音乐家可以利用音乐流中的停顿来参与生成性认知活动。以柯川即兴创作的《巨人的脚步》为例，分析旋律即兴创作中的冗余与创新。半小节单位被编码为旋律变体的类型。我们发现运动输出单位（播放突发）约3秒的持续时间与创新模式出现后较长（0.5秒）暂停的概率略高。此外，一个系统的曲线轨迹的创新被发现在整个作品与峰值后四分之三的合唱。讨论建立了一个平行即兴和会话语言生产方面的话语的长度，似乎考虑到听众的心理存在。专家即兴表演的可能性，从事故意解决问题的性能也得到解决。
Studying musical improvisation is methodologically difficult because improvisations are hardly reproducible, and no established theory exists regarding their formation. In particular it is unclear when and if jazz musicians invent new (innovative) melodic patterns or rely on previously overlearned (redundant) phrases. Other similar goal-directed activities with high complexity are production tasks such as driving a car (Tanida & Pöppel, 2006) or producing spoken language (Fenk-Oczlon & Fenk, 2009). Trade-offs between deliberate cognitive processes and automatized execution can be expected under extreme time pressure in high speed improvisation, and pauses in the musical flow could be used by musicians to engage in generative cognitive activity. Using transcriptions of John Coltrane’s improvisation of “Giant Steps” we analyzed redundancy and innovation in melodic improvisation. Half-bar units were coded for types of melodic variants. We found motor-output units (playing bursts) of around 3 seconds’ duration with a slightly higher probability of innovative patterns appearing after longer (0.5 s) pauses. Also, a systematic curvilinear trajectory of innovation was found across the piece with a peak after three-fourths of the chorus. The discussion establishes a parallel between improvisation and conversational language production with regard to the length of utterances which seem to take into account the listener’s psychological present. The possibilities of expert improvisers to engage in deliberate problem-solving during performance are also addressed.
单音爵士乐独奏的中级分析：即兴创作研究的新方法
影响因子：
2.4
作者：
Klaus Frieler;Martin Pfleiderer;Jakob Abeßer;Wolf-Georg Zaddach
通讯作者：
Wolf-Georg Zaddach