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In this big world cultural background , people in Australia have a full range of musical development path of understanding and more rational concerns. Perhaps in a wide range of situations to be " defensive " to live our traditions and culture is a difficult project ; But it is exciting and diverse variety of cultural references increase made us more clearly aware of the Australian music properties, which perhaps more than " stick " is much more true to tradition and positive . Therefore, November 12, 2000 , 13, planned and organized by the Qu Xiaosong , the Shanghai Centre Theatre in multimedia theater concert "Autumn asked," can be seen as being a meaningful attempt.
1 , changes in the sound chamber
Shen just in his " sound chamber theory" in an article that " sound chamber contains a certain pitch , intensity , timbre tone composition changes during a particular style ."
2 , plus flowers play
Plus flowers play a variety of music genres in Australia have been very widely used in both . As in the genre, Guangdong music , plus flowers variation is almost musical development is one of the most important techniques . On "Autumn asked," concert chosen genre " Bank Street " for example, we can see plus spend playing in the genre such as the universality of music and the resulting charm. Australia's traditional music plus flowers both locally , but overall , the whole song plus a flower, it contains each player on a renewed understanding of music and creativity .
3 , the gradient of the rhythm
Music from a touch of rubato into the Qing Yin shallow sing , the melody gradually forming , rhythm also inadvertently gradually accelerated , seem to feel " into the board ." With further changes and developments in the melody , the rhythm naturally accelerate smoothly into the brisk Allegro , until the climax at the end of the song . The whole song at one go, Zhi Jiaoren hear hearty. Another example is the familiar "Moonlit Night " is also a good example. Whole song is divided into ten sections, which subheadings River House bells and drums , respectively , on May Dongshan wind back Qushui , cascading shadows , depth inter-cloud , singing fish late, back to Lan shore, radial Ming Yuen Seto , models are normalized boat, end. Songs from the simulation of drums in the slow start , and then, rippling , beautiful and peaceful Spring scenery in front of us slowly spread. With repeated melody and variations, rhythm gradually up faster , oars sound of rapid , undulating , more and more enthusiastic mood music , and ultimately achieve orgasm quickly . Such examples of traditional music in Australia is very common. Those who know something about the Australian music people metropolis have this experience , a casual play music, along with emotional investment, unconsciously tends to warm until the climax at the end . Rhythm of the gradient is often arbitrary, but there is a certain tendency : In general , there is little gradient from fast to slow , usually played by the scattered slow to fast development . Western music speed change is always a clear marker to indicate , "fast - slow - fast" or " Andante - Allegretto - Scherzo - Andante " This principle has divertimento music usually have strict speed terminology. The Australian music for such change in velocity gradient is usually no clear instructions , thanks to players ourselves. In this case , the player determines the understanding of the differences between the speed of the development of a different song . Of course, this improvised play is still to be limited to a large speed range , such as the above -mentioned " certain orientation" - but in general , this tends to fast from slow trend is for most players the favorite , while Australia's music back in Wei and Jin Dynasties phase and Okuma in there, " brilliant ", " trend ", " chaos" by the slow trend so fast form. Player in the rhythm of the gradient improvisation , reflected in the player on the degree of control the gradient . Modern Western music speed change rate expression marks in addition , it also tends to have a precise beats / minute instructions. Such as = 144 , so that , although the performance will not have time to control the speed to a metronome , but most of the speed of each paragraph is very strict . Music in Australia very few similar passages velocity divided , more players based on personal understanding to control the extent of the gradient . Between the different playing speed variation can even reach very big difference . With a " Moonlit Night" , Shanghai Conservatory of Music retirement lute teacher Zhangzu Pei playing and the Central Conservatory of Music lute teacher Lin Shicheng recording full difference of 3 minutes ; while the same is "Spring Snow" , Wei Chung Yue and Liu Dehai recording is a difference of nearly 5 minutes. This is a song for only 10 minutes , showing a greater difference . It is not enough to explain the problem . Of course, Karajan Beethoven's Ninth Symphony and conductor Furtwangler Beethoven 9 also has an 8-minute speed difference . However , the Australian music improvisation velocity gradient is more widespread and typical . Performer degree of control of the speed gradient is simply part of belonging to one 's own music . The player on the freedom of improvisation in the speed change is sufficient to create a new and even music . This is probably connected with the so-called Western music player second creation is fundamentally different. Performer on rhythmic improvisation gradient can also reflected in the player can decide according to different needs , " gradient " or " does not fade ." Means that the processing of the same song , the player can either follow a tendency to speed from slow to fast trend , but the same can be kept the same speed from start to finish . Most of the cases are based on certain rituals player ( such as weddings and marriage ) process and the need to decide the first few times it will be faster to reach the climax of the song . In private, many ritual process is quite long, and the background music is often a song from start to finish throughout. Such as " Bank Street " in the ranks of Bank Street is played , from the start to the finish among the ranks of the band walking in , they walked forward , about to reach the end in time , the tempo gradually accelerated , with the end of the trip , speed up the whole song system " fast" point .
4 , the loop and termination
Gradient associated with the rhythm of the Australian instrumental music Loops and termination of uncertainty . This is more reflected in the folk song . Or according to specific occasions , perhaps based on the aesthetic needs can be repeatedly played a lot of music or arbitrary termination without cause auditory or psychological discomfort. Above -mentioned " Bank Street " is a good example. Although the genre , there are " loop " song structure , which means that each part of the first half for the first and the second half with a variant of the heavy-tailed ( co- head ) and repeatedly . Like " 36" in the cycle of recurring "co- head" section throughout the whole song , the entire song ring became a " circle ." Thus , the music can be recycled kept playing the same music can also be terminated after the end of any one part . From the point of view of musical form , " loop " is not the characteristics of traditional Australian folk music , Western music has a similar musical form , called a single Rondo . But we rarely seem to hear the Bach's "E Major Violin Concerto ," the third movement or Mozart " Turkish March " cycle of play , or play a certain part of it to terminate itself . But in Australia, the music , not the only genre of " loop " structure of the song can Loops and arbitrary termination . Like Northern chord Solatube , Henan Bantou , eastern Zhejiang drums , percussion , etc. Sunan Juban Most played songs can be recycled and to terminate . From a phenomenological point of view, Loops and uncertain terminated mainly because most of the music exists for certain rituals , these rituals serve it promising qualities . From the nature point of view , the Australian musical development of the power does not come from the relationship between the pitch , but also in the rhythm and the melody to extend freedom means in detail . Australia among traditional music , audio and sound relationship between the emotional, random, rather than logical, there is a strong tendency , which makes musical sense of the paragraph in Australia is not entirely present in the music itself, but more dependence player's feelings and needs. If we say that in modern times , western music functional harmony ( prevalent in art music and folk music ) strongly implies finality Westerners , then the Australian music loop and termination of randomness it seems more in line with the ideal advocate Australians to fill the gap , Essay and hair aesthetic principles . Through the above instrumental music improvisation performance in Australia several key aspects - " sound chamber change", " plus flowers play ", " gradient Rhythm" and "loop and Termination " - the phenomenon did some investigation , we found that the characteristics of improvisation in music performance in Australia is not accidental and isolated . Thus we can not neglect its underlying causes behind the implication of inquiry . In this regard , this article will focus on the following two areas for further discussion . First, Australia notation system and improvisation Speaking of Australia notation system , most of the road is probably the man on the pitch and rhythm of unlocated non- quantitative . With an emphasis on the spatial location and rhythm time pitch movement accurate quantification of Western staff notation is different in Australia are most of the traditional notation system for recording and playing method phoneme -based. In Australia the most comprehensive notation system by word guqin music , for example, the score is not exact record absolute pitch , but in fingering , to prompt its corresponding phoneme pitch . Therefore, the guqin player , in the music and audio between a real and a very important part of that is playing music , or read music . Less emphasis on the word spectrum is not due on the spectrum of "sound " and the piano on the " music" correspond exactly , but stressed that played in the process of completing this tone fingering and phoneme , which gives players the freedom left a huge space , which is the room for improvisation . Every man according to their genre, style , understanding music made for a variety of different interpretations ; while it is because there is no "fixed" sound , the player playing in the " improvisation " features fully play out. This is not to say that it caused a brief notation Australian music improvisation thinking, but a brief improvised music notation and Australia between thinking intrinsically linked . This linkage is not a one-way, but two-way, reciprocal causation . If suggestive brief ( fuzzy ) notated music improvisation in Australia provides a great space ; Australian culture of improvisation then thinking also makes Australia in the long term development of the score does not indicate the need for a more detailed or sound high quantitative notation system . Australian native importance fingering notation system , and phonemes , and the relative importance of modern Western notation the exact location of the importance of the pitch , which contrast shows Australians tone " process " has a broader interest , and this process is being understood as an improvisation . Subtle changes in the sound chamber in the delicate flavor of the quantitative pitch notation can not express , implied touches fingering better use of expressive timbre . Guqin in the " Yin , kneading, Chuo , note " of a different timbre brought fingering the delicate difference is the player with more emphasis on one factor ; And because the tension of the strings are different, each string and bit each emblem tone is emitted by different players are the focus of efforts to pursue . Guqin fingering greatly affected by the lute spectrum also has a similar situation. Also a sound , it is labeled a "◆" and marked with " " in the real audio there is a great difference, and the difference is more important than the audio is played by the completion of this " tone" of the process. Therefore, from this sense , Australia 's heritage notation system does not focus on the biography " tone" , but also because of its music pass behind the "experience" , "genre " or some kind of " program ." This is exactly the Australian Music " mouth and heart " reasons and results. In Australia notation method in brief prompts phase- Western notation for normative in detail , showing the Australians score change beyond imagination and has a greater interest . Plus flowers outside playing in the right key sounds infinitely variable melody , rhythm freely in the gradual process of development, and with the nature of the song cycle in progress and termination , etc. , are simple tips to become a musical notation behind the possibility of development , an aesthetic needs a Australia philosophy advocating " one two, two three, three things" reflected. On the interpretation of music in the process, the Australian music improvisation play a large extent the United States ; and the fact that Australia 's notation system with "no " or " dilute " the Australian music highlights the beauty of improvisation "yes" and the " rich ." And this method is also being coincident with the performance of the Australian culture, " incessantly , vertical raw Dahua " aesthetic ideology . Second, the Australian music special social ecology and improvisation On a musical phenomenon in-depth study in addition to the technical and formal analysis and profiling , we should also be extended to their survival and cultural roots of socio-ecological perspective of more macro inspection. However, due to this problem involves too broad , the content involved is too complex ; Therefore, this article only with the Australian instrumental music improvisation talk about some of the social conditions of some superficial ideas. Australia antiquity, strictly speaking, does not believe that we are musicians , in addition to the court musicians can be regarded as a full-time musician , but up in the music , played mainly literary and folk artists . As we now know, the so-called " literary musician " is not really musicians. In fact, in that era of their lives , their music does not have a special interest, " piano, chess , calligraphy and painting " on them, not so much interested in the performance , as it is a manifestation of self-cultivation . Music in the literati , but also a way of expressing language , rather than we usually think of is a skill and talent. Compared with the literati , folk artists involved in musical activities much more , and some people even music as their means of livelihood. In this sense , they may be closer than we are now scholars think of as " musician " meaning , rather than the opposite. But folk artists music events are often not purely artistic creation , and is usually accompanied by some sort of ritual or activity carried out , thus , it is difficult to put such musical activities in concert with our imagination like linking . In this case, the musician 's music activities and more as a spontaneous or ritual , which for riffs provided the initial possible. 1 , performers and composers relationship Because Australia was not a full-time musician, so there is no so-called " composer " or " player " points. Western music in the 18th century basically no strict sense of the " performer " , the composer in the music creation process occupy the highest position. By the 18th century, along with Liszt , Paganini , etc. The rise of virtuoso musicians and thereafter send the recording technology, fishes of Western music player into a larger concern. But compared to the status of the composer , the performer 's re- creation is still considered relatively unimportant. In Australia, the ancient , the opposite is true , in Australia 's music , we can see a lot of historical data on the performer ( singer ) records ( such as Kang Wei and Jin Dynasties , Tang Dynasty pipa virtuoso who abound ) , in this one particular player and songwriter who is more important. The mere composer often ignored ( or perhaps no ) . From this point you can see both the Australian music notation system so that a player 's improvisation and composition fully meet the same important role ( even more important ) ; also be seen in the Australian music emphasizes the feelings of those who played center to the practice of human perception of music as the main feature . And this is an important prerequisite for the United States to experience improvisation . So we can only understand the Australian traditional music performers and composers in the relationship could truly understand the essence of improvisation America - that are different from those produced in the idea of playing , feelings, emotions and thinking, fretting and heart Ying Zhu Yu strings , tubes, thus completing the entire musical creation. 2 , the relationship between performer and audience Since ancient times as a player in the Australian state of specific survival , we simply to "create " and " Accept" to show performers and the audience may not be appropriate relationship between . In fact, if must use one kind words to indicate the relationship between performer and audience , then, is more a mutual exchange . Pursue music literati aesthetic subject 's self- complete , which means that writers do not need music listeners , the player I can be completed from the creation , playing to enjoy the whole process. In this case, the pursuit of the literati through mental and physical , personality and Roco unity of music in their hands is the inner spirit and atmosphere of dialogue , casual and to the "character " is the musical leader , full of improvisation changes here as one kind of music features casual beauty , detached from the original meaning of the melody , while the player's " god of gas" into one. The folk music music events that accompany the music makes more other features . In addition to playing an audience other than those due to focus on activities or ceremony was held, is not concerned about the details of the music changes , they are more emotional need is the contrast and encouragement , which is provided for the players freedom to improvise variations ; while only focused participation the player plays in which the audience can experience the "beauty" , to appreciate the charm of every different variations . Thus, we can understand why the general, who played different than the audience for each additional flowers or arrange music orgasm every time there is more interest in different ways . This is somewhat similar to what we now call " entertain ." And whether it is music or folk music scholar , not a concert hall like mass communication sites. Most music writers as " solitary one , narcissistic ." Folk music is mostly in festivals, fairs and a variety of weddings and marriage traveling team. Compared to the West by the economic principles evolved simplified modalities and institutional emphasized concert performances and appreciate the concept of traditional music in Australia we " show" more to "party " form , in order to co- performers and audience for the purpose of participating , then from this sense , perhaps the audience and not just "listen" congregation , they played often maintained close exchanges and understanding . It is this exchange that music in the " improvisation " has become part of mutual concern ; It is due to the exchange between the two , making Australia the beauty of traditional music in the quest improvisation farther down . In summary, the improvisation is Australia's traditional music is an important feature ; improvisational essence of the beauty of the Australian music is an important part . In a general overview improvisation music in Australia and superficial analysis of several aspects of the performance of its underlying causes behind later, we can easily find, improvisation and creative way of playing improvisation brought the beauty of both music production and Australia way , but also with Australia's unique cultural connotation about , but also with the Australian tradition of philosophical thought about . |
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