Movement and collaboration in musical performance
Movement and collaboration in musical performance
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音乐表演中的动作与协作
DOI：
10.1093/oxfordhb/9780199298457.013.0034
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发表时间：
2008
影响因子：
1.1
通讯作者：
J. Davidson
中科院分区：
文献类型：
--
作者：
J. Davidson
身体在音乐表演的产生和感知中起着至关重要的作用，这一点已经被公认了几个世纪。事实上，古希腊人认识到身体在所有艺术表演表达中的中心地位，揭示了音乐和舞蹈所需的身体协调之间几乎没有区别。在谈到所有人类活动时，民族音乐学家约翰·布莱克(1977)在《身体人类学》中认为，对身体的详细理解设置在个人的文化背景下，可以揭示关于这个人的微妙细节以及他们如何在社会中互动。自20世纪70年代以来，学术界越来越关注身体在艺术活动中的作用，提供了有用的理论，说明具体化的思想和行为如何让我们通过音乐和舞蹈等艺术表演活动来认识和理解我们所居住的世界。例如，到了20世纪90年代，在批评音乐学领域，苏珊·麦克拉利(Susan McClary)(1991)的《女性结局》通过对流行艺术家，特别是麦当娜和kd·朗等女艺术家的开创性研究，有效地解决了身体的功能问题。她说明了我们对这些女性的了解是如何影响了我们对她们的体验，就像她们的外表和舞台角色以及她们在音乐表达中所经历的表达情感对表演的贡献一样：她们的身体被认为是非常特殊的社会交换场所，从而突出了身体、社会和文化的联系。音乐心理学领域对身体的研究反映了一些最近的社会人类学和批判性音乐学趋势，因此形成了一系列以社会为重点的调查。这些想法一直是本书作者工作的核心，将在本章中加以探讨。然而，总的来说，现代音乐心理学关于身体的工作的起源倾向于更多地关注演奏的身体控制方面，例如动作如何组合来执行音乐任务。有趣的是，这些运动编程研究与一些关于音乐学习的研究相结合，因此出现了这些技能出现的证据。进一步的知觉查询和运动跟踪研究探索了身体动作用于表现音乐效果。此外，教育学成果的应用研究项目探索了身体运动和运动隐喻的使用，以增强表演者对音乐表现力的理解，并将运动努力和流动之间的相似之处用来描述音乐语义中的品质。最后，在集体音乐的背景下，研究识别用于人际协作的身体运动的类型，包括音乐和音乐外材料(音乐和一般社会动力)的协调，以及这种信息如何有助于
The body has a crucial role in the production and perception of musical performance that has been recognized for centuries. Indeed, the Ancient Greeks recognized the centrality of the body in all artistic performance expression, revealing that there was little to distinguish between the physical coordination required in music and dance. Speaking of all human activity, ethnomusicologist John Blacking (1977) argued in The Anthropology of the Body that a detailed understanding of the body set within the individual’s cultural context can reveal subtle details about that person and how they interact within society. Increasingly since the 1970s scholarship has paid more attention to the role of the body in artistic activity, providing useful theories relating to how embodied thoughts and actions allow us to know and understand the world we inhabit through artistic performance activities like music and dance. For example, by the 1990s, in the area of critical musicology, Susan McClary’s (1991) Feminine endings usefully addressed the function of the body through groundbreaking studies of popular artists, especially female artists like Madonna and kd Lang. She illustrated how it was as much our knowledge of these women as pop stars that influenced our experience of them, as it was their physical appearance and stage persona alongside the expressive affect experienced in their musical expressions that contributed to the performance: their bodies were recognized as a very special site of social exchange, thus highlighting the physical, social and cultural nexus.Research in the field of music psychology on the body has reflected some of the recent social anthropology and critical musicology trends, and so has developed a strand of socially focused enquiry. These ideas have been central to the work of the current author and will be explored in this chapter. Generally, however, the origins of modern psychology of music work on the body has tended to focus more on the bodily control aspects of playing, such as how movements assemble to execute a musical task. Intriguingly, these motor programming studies have been interfaced with some studies on music learning so that evidence for the emergence of these skills has occurred. Further perceptual enquiries and movement tracking studies have explored the body movements used for expressive musical effects. Also, applied research projects for pedagogical results have explored the use of bodily movement and movement metaphors to enhance understanding of musical expressivity for performers, with parallels being drawn between movement effort and flow to depict qualities in the musical semantics. Finally, within the group music context, studies of the identification of types of bodily movement used for interpersonal collaboration, including the coordination of musical and extramusical material (musical and general social dynamics), and how this information helps to