Improvisation in Jazz: “Stream of Ideas”-Analysis of Jazz Piano-Improvisations
Improvisation in Jazz: “Stream of Ideas”-Analysis of Jazz Piano-Improvisations
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爵士乐中的即兴创作：“思想流”——爵士钢琴即兴创作分析
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发表时间：
2012
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通讯作者：
M. Schütz
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作者：
M. Schütz
“思想流”分析体现了一种分析爵士乐即兴创作的新方法。 “思想流”分析的核心是在实证研究中发展起来的，是将中层的即兴创作转化为一系列旋律短语/模式（=“思想”）。在定性内容研究方法和扎根理论的基础上，创建了一个可扩展且可微分的动态类别系统来代表 30 个检查的即兴创作中出现的各种旋律短语。潜在的即兴创作是对五位爵士钢琴家进行实验的结果，他们被要求在几次演奏中即兴演奏同一组不同的爵士乐曲。之后，每个即兴创作都根据“思想流”分析进行分类，并呈现为一系列使用过的“思想”。在分析了 30 个即兴创作后，类别系统由九个主要类别（=“basis-ideas”）组成，涵盖了每一个出现的旋律短语。九个“基础想法”是根据旋律轮廓或音乐内部方面（主题的变化、创建主题等）来定义的。此外，“思想流”分析使得可以通过使用统计方法（例如通过处理频率分布）来客观地比较不同音乐家或曲调之间的即兴创作。可以看出，五位参与的钢琴家中的每一位都使用了非常相似的首选“基础想法”（个人词汇）组合，在相同的基础曲调上创造了不同的即兴创作（演奏）。此外，人们还认识到不同曲调和某些“想法”的数量之间存在联系。
The “stream of ideas”-analysis embodies a new way to analyze jazz improvisations. The core of the “stream of ideas”-analysis, which was developed within an empirical research, is to translate an improvisation on a mid-level to a sequence of melodic phrases/patterns (=”ideas”). On the basis of methods of qualitative content research and grounded theory an expendable and differentiable dynamic system of categories was created to represent every kind of melodic phrases, which occurred within the 30 examined improvisations. The underlying improvisations were the result of an experiment with five jazz pianists, who were asked to improvise in several sessions on the same collection of different jazz tunes. Afterwards each improvisation was categorized according to the “stream of ideas”-analysis and presented as a sequence of used “ideas”. After analyzing the 30 improvisations, the system of categories consisted of nine main categories (=”basis-ideas”), which covered every appearing melodic phrase. The nine “basis-ideas” are defined with regard to either aspects of melodic contour or intra-musical aspects (variation of the theme, creating motifs etc.). Furthermore the “stream of ideas”-analysis makes it possible to compare improvisations objectively between different musicians or tunes by using statistical methods (e.g. by dealing with frequency distributions). It could be shown that each of the five participating pianists used a quite similar combination of preferred “basis ideas” (individual vocabulary) to create his different improvisations (takes) on the same underlying tune. In addition, a connection between the different tunes and the amount of certain “ideas” was recognized.