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The Research and Development of an Italian 17th-Century Style Improvising Ensemble

意大利17世纪风格即兴乐团的研究与发展

基本信息

批准号：
AH/G014523/1
负责人：
Paula Chateauneuf
金额：
$ 2.09万
依托单位：
University of Birmingham
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2009
资助国家：
英国
起止时间：
2009 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FG014523%2F1
关键词：
Research Development Italian 17th Century

项目摘要

Since the early 20th century there has been a fascination with pre-classical music; in the last fifty years this 'early music' movement has become incredibly popular, with a wealth of historically-informed performances on reconstructed instruments from earlier eras. Much of the pre-classical music left to us is more a framework than a literal text, similar to the kinds of sketches used in jazz, generally containing a melody in a very simple version with suggested harmonies. From this skeleton the musicians, equipped with well-honed improvisation skills, will embellish the sketch into a sophisticated and personal performance. As the standards of early music performance continue to rise and become more adventurous, performers are now ready to take their expertise to another level by refining their improvising skills to transform their sketches into virtuosic performances and realise the full potential of this rich repertoire. As an AHRC Fellow in the Creative and Performing Arts, one aspect of my research project centres around the unusual and often complex forms of improvisation, particularly on chordal instruments, that were commonplace in Italy in the 17th century. Ensembles of long-necked lutes, harpsichords, violins, and 'cornetti' would participate in church feast-day celebrations where they would create group extemporisations which contemporaries described as heavenly music on earth. Through my research project I aim to revive this art by establishing an ensemble, essentially an 'early music big band', devoted to experimentation, performance and promotion of rarely-attempted forms of early improvisation. Early music is one of the only areas of classical music which has a built-in element for improvisation, and yet most modern-day practitioners have only just scratched the surface of what is possible. I aim to redress the balance by creating musical experiences on the classical music platform which involve the public in the exhilaration created by the invention of music on the spot. The notion of an entire ensemble improvising simultaneously within an intricate set of boundaries is both astonishing and exciting. Our starting point will be theoretical materials on extemporization left to us from the 16th and 17th centuries coupled with analysis of early 17th-century Italian music which imitates improvised music. Our scholarly findings will be used to inspire our practical music-making. There will be no 'cross-over' or 'fusion' here: while we may take advice from modern improvisers on how to structure our practising and ensemble skills, we shall not be relying on folk, 'world', or jazz musicians to provide the improvisation for us, which can often be the case in groups which feature early extemporization. This project captured the imagination of Marshall Marcus, Head of Music at London's Southbank Centre, who is devoted to promoting improvisation in classical music spheres. He has proposed an Early Music Improvisation Weekend in October 2009 which will feature more sophisticated forms of early extemporization; my ensemble will be a focal point of the weekend, presenting an open rehearsal, concert, and improvisation workshop open to the general public. The ensemble will consist of high-calibre musicians who have been hand-picked for their experience and improvisation skills. We shall undertake an extensive period of research and development to prepare for this groundbreaking event. Our rehearsals will be filmed in order to present a documentary which records our process in the foyer of the Centre during the weekend. I aim to secure other concerts and workshops for the ensemble around this time in order to reach a wider public and provide the opportunity for us to further hone our skills. I also intend to record our rehearsals and concerts professionally in the hope of producing a self-financed commercial CD of our best extemporized material over this period.

自20世纪初以来，人们一直痴迷于前古典音乐；在过去的50年里，这一‘早期音乐’运动变得令人难以置信地流行起来，用更早时代的重建乐器演奏了大量了解历史信息的表演。留给我们的许多前古典音乐更多的是一个框架，而不是字面上的文本，类似于爵士乐中使用的各种小品，通常包含一个非常简单的旋律，带有建议的和声。在这个骨架上，音乐家们配备了经过精心磨练的即兴表演技能，将把小品美化成一场复杂的、个性化的表演。随着早期音乐表演的标准不断提高，变得更加冒险，表演者现在准备通过完善他们的即兴表演技巧，将他们的专业技能提升到另一个水平，将他们的小品转化为高超的表演，并充分发挥这一丰富曲目的潜力。作为AHRC创意和表演艺术的研究员，我的研究项目的一个方面是围绕不寻常且往往复杂的即兴演奏形式，特别是和弦乐器，这种形式在17世纪的意大利很常见。由长颈琵琶、大键琴、小提琴和小提琴组成的乐团将参加教堂的节日庆祝活动，在那里他们将创造出被同时代人描述为地球上天堂音乐的集体即兴表演。通过我的研究项目，我的目标是通过建立一个乐团来复兴这项艺术，本质上是一个“早期音乐大乐队”，致力于实验、表演和推广很少尝试的早期即兴表演形式。早期音乐是古典音乐中仅有的几个具有即兴创作元素的领域之一，然而大多数现代练习者只是触及了可能性的皮毛。我的目标是通过在古典音乐平台上创造音乐体验来纠正这种平衡，让公众参与到现场音乐发明创造的兴奋中。整个乐团同时在一组错综复杂的边界内即兴表演的想法既令人惊讶又令人兴奋。我们的起点将是16世纪和17世纪留给我们的即兴演奏的理论材料，加上对17世纪早期意大利音乐的分析，这些音乐模仿即兴音乐。我们的学术发现将被用来启发我们的实际音乐创作。这里不会有‘交叉’或‘融合’：虽然我们可能会听取现代即兴演奏家关于如何构建我们的练习和合奏技能的建议，但我们不应该依赖民间、世界或爵士音乐家为我们提供即兴演奏，这在以早期即兴表演为特色的团体中往往是这样的。这个项目激发了伦敦南岸中心音乐主管马歇尔·马库斯的想象力，他致力于促进古典音乐领域的即兴创作。他提议在2009年10月举办早期音乐即兴表演周末，届时将以更复杂的早期即兴表演形式为特色；我的乐团将成为周末的焦点，向公众开放一场公开排练、音乐会和即兴表演工作坊。乐团将由高素质的音乐家组成，他们因经验和即兴演奏技巧而被精心挑选。我们将进行广泛的研究和开发，为这次突破性的活动做准备。我们的排练将被拍摄下来，以便呈现一部纪录片，记录我们周末在中心门厅的过程。我的目标是在这个时候为乐团争取其他音乐会和工作坊，以便接触到更广泛的公众，并为我们提供进一步磨练技能的机会。我还打算专业地录制我们的排练和音乐会，希望在这段时间里能自筹资金制作一张我们最好的即兴材料的商业CD。