Biography, identity, improvisation, sound: Intersections of personal and social identity through improvisation
Biography, identity, improvisation, sound: Intersections of personal and social identity through improvisation
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传记、身份、即兴创作、声音：通过即兴创作实现个人身份和社会身份的交集
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发表时间：
2016
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通讯作者：
Rineke Smilde
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作者：
Rineke Smilde
本文探讨了即兴创作与身份的关系。作者对专业音乐家终身学习的传记研究表明，即兴创作对个人表达的巨大重要性。在音乐上，声音的概念似乎是身份的一个强有力的隐喻。此外，作为伦敦音乐生活项目的一部分进行的民族志研究，由Smilde，Page和Alfred于2014年出版，音乐家与痴呆症患者及其护理人员一起参加创意音乐研讨会，揭示了即兴创作作为“其他人”（即痴呆症患者）身份的表达。声音再次成为身份的隐喻。本文借鉴了乔治赫伯特米德关于身份的著作，区分了个人的“我”和社会的“我”，并指出这两个方面对自我都是必不可少的。从这个意义上说，即兴创作可以被视为一种沟通手段，将个人与社会联系起来。此外，借鉴保罗·利科（Paul Ricoeur）的《自己是另一个人》（Oneself as Another，1992），表明这种与个人和社会身份有关的即兴创作概念可以通过音乐转移到社区参与的形式中。然而，尽管它的巨大的重要性，即兴仍然往往被边缘化的专业高等音乐教育，特别是在音乐学院，和文章结束时，强烈呼吁音乐学院采取他们的角色在社会中，并嵌入即兴在课程的核心。
This essay addresses the relationship of improvisation and identity. Biographical research that was conducted by the author into professional musicians’ lifelong learning showed the huge importance of improvisation for personal expression. Musically, the concept of sound appeared to serve as a strong metaphor for identity. In addition, ethnographic research conducted as part of the project Music for Life in London, and published by Smilde, Page and Alheit in 2014, where musicians work in creative music workshops with people with dementia and their caregivers, shed light on the use of improvisation as an expression of the identity of ‘the other’ (i.e. the person with dementia). Sound again appeared to serve as a metaphor for identity. The essay draws on the work of George Herbert Mead on identity, which distinguishes between the personal ‘I’ and the social ‘Me’, and points out that both aspects are essential for the self. In this sense, improvisation can be conceived as a means of communication that connects the personal with the social. Furthermore, drawing on Paul Ricoeur’s Oneself as Another (1992), it is shown that this concept of improvisation in relation to personal and social identity may be transferred to forms of community engagement through music. However, despite its huge importance, improvisation is still often marginalised in specialist higher music education, particularly in conservatoires, and the essay finishes with a strong plea for conservatoires to take up their role in the midst of society and embed improvisation in the core of the curriculum.