The Jazzomat project. Issues and methods for the automatic analysis of jazz improvisations
The Jazzomat project. Issues and methods for the automatic analysis of jazz improvisations
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Jazzomat 项目。
DOI：
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发表时间：
2009
期刊：
影响因子：
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通讯作者：
K. Frieler
中科院分区：
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作者：
Martin Pfleiderer;K. Frieler
爵士乐是流行音乐的一个杰出领域。爵士乐甚至被描述为“美国古典音乐”，因此被美国国会指定为“美国稀有而宝贵的国宝，我们应该投入我们的关注、支持和资源，以确保它得到保存、理解和推广”（引自 Walser，1999 年，第 333 页）。有大量且不断增长的研究致力于爵士乐的历史和社会背景、各种爵士乐音乐家的生活以及他们的音乐以及各种爵士乐风格的音乐结构和特征（参见 Meadows，1995；Pfleiderer，2002）。此外，几十年来，爵士乐一直在成为美国以及欧洲各国、澳大利亚和日本年轻音乐家的器乐训练中真正的古典音乐替代品（DeVeaux，1991）。爵士音乐家音乐能力的核心在于即兴创作的艺术。 Paul F. Berliner (1994) 从民族音乐学的角度出发，深入研究了 20 世纪 80 年代纽约爵士乐界年轻爵士音乐家的学徒期以及即兴创作实践知识的传播情况。此外，心理学家也对即兴发挥的创造性过程及其在具身认知中的基础进行了探索和理论化（Pressing，1988；Iyer，2002；Johnson-Laird，2002）。与创作音乐或发明新技术应用等创作过程相比，即兴创作“在表演过程中创作音乐”（Nettl，1998）是一种实时的舞台创作活动，没有修正或编辑的机会。因此，即兴发挥对于创造力的心理审查特别有意义。通过 Jazzomat 项目，我们的目标是使用爵士乐独奏数据库以及各种统计方法来解决爵士乐即兴创作的几个问题
Jazz is an outstanding area of popular music. Jazz has even been described as “Americas classical music” and therefore designated by the American congress “as a rare and valuable national American treasure to which we should devote our attention, support, and resources to make certain it is preserved, understood, and promoted” (cit. by Walser, 1999, p. 333). There is a huge and growing number of studies dedicated to the history and social background of jazz, to the lives of various jazz musicians as well as to their music and to musical structures and features of various jazz styles (see Meadows, 1995; Pfleiderer, 2002). Furthermore, for several decades jazz has been on its way to become a real alternative to classical music as instrumental training for young musicians (DeVeaux, 1991) in the United States of America as well as in various European countries, Australia and Japan. At the core of the musical competences of jazz musician lies the art of improvisation. From an ethnomusicological point of view, Paul F. Berliner (1994) thoroughly investigated the apprenticeship of young jazz musicians and the transmission of practical knowledge about improvisation within the New York jazz community in the 1980s. Furthermore, the creative processes of improvising and their foundations in embodied cognition have been explored and theorised by psychologists, too (Pressing, 1988; Iyer, 2002; Johnson-Laird, 2002). In contrast to creative processes like composing music or inventing new technical applications, improvising as “creation of music in the course of performance” (Nettl, 1998) is a realtime onstage creative activity without opportunity for correction or editing. Therefore improvising is of particular interest for the psychological scrutiny of creativity. With the Jazzomat project we aim at approaching several issues of jazz improvisation using a database of jazz solos as well as various statistical methods