Music Improvisation and Social Inclusion
Music Improvisation and Social Inclusion
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音乐即兴创作和社会包容
DOI：
10.1080/07494467.2019.1684057
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发表时间：
2019
影响因子：
0.4
通讯作者：
Schroeder F
中科院分区：
文献类型：
--
作者：
Schroeder F
即兴创作的人只关注当下；暂时放弃必然性和因果性的世界，而进入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。倾听是最基本的行为。表演是次要的行为。一个人发出的每一个声音都是对他所听到的声音的回应。一个即兴独奏者必须对自己发出的声音做出反应，就像另一个人发出的声音一样。没有团队就没有独唱。在即兴创作中，我们必须暂时抛开自我意识和自我认同。这是一个游戏，可能是危险的，如果没有在控制条件下玩。在不受控制的情况下，它会导致精神错乱。身份是后天习得的。它对生存是有用的。当我们过马路时，记住我们是谁以及我们在做什么是很重要的。同时，重要的是不要考虑我们做的每一个动作。我们必须相信无意识。当我们行动时，我们暂时从反思中解脱出来。我们只是行动。（Rzewski 2006）13年前，2006年（《当代音乐评论》第25卷第5-6期），“非凡的音乐家”、即兴演奏家和大提琴的美女弗朗西丝-玛丽·尤蒂（Frances-Marie Uitti）发表了音乐即兴创作的基石出版物之一，由Taylor & Francis出版。uiti以打破音乐界限和发明一种同时用两把弓演奏大提琴的独特技术而闻名，她采访了当时许多在音乐即兴表演领域工作的“大人物”。文章包括实验歌手Joan La Barbara，英国萨克斯管演奏家Evan Parker，美国长号演奏家和作曲家George E. Lewis，荷兰打击乐演奏家Han Bennink和荷兰爵士钢琴家和作曲家Misha Mengelberg对即兴创作的看法，以及深受喜爱的即兴演奏家和深度听众Pauline Oliveros和美国作曲家和歌手Meredith Monk等人的文字。
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)13 years ago, in 2006 (volume 25, issues 5–6 of Contemporary Music Review), Frances-Marie Uitti,‘musicienne extraordinaire’, improviser and femme fatale of the cello, issued one of the cornerstone publications of musical improvisation, published by Taylor & Francis. For that double issue Uitti, famous for having made a musical career out of demolishing musical boundaries and inventing a unique technique of playing her cello with two bows simultaneously, had interviewed many of the ‘big’names working in the musical improv scene at the time. Articles included views on improvisation by experimental vocalist Joan La Barbara, by British saxophonist Evan Parker, American trombonist and composer George E. Lewis, Dutch percussionist Han Bennink and Dutch jazz pianist and composer Misha Mengelberg, as well words by much loved improviser and deep listener Pauline Oliveros and American composer and vocalist Meredith Monk, amongst many others.