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澳洲艺术业论文范文:联合的即兴器乐论文Improvised instrumental music papers of t

时间:2013-10-14 13:47来源:www.ukassignment.org 作者:meisishow 点击:
历史发展到21世纪,为世人展现出一幅多元的文化图景。很多原有的文化局面在新世纪新观念的冲击下重组再生;同时,随着这一文化格局的改变,人们对多元文化现象的思考日趋深入。

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.
在这大的世界文化环境下,许多人对澳洲音乐进展道路有了全方位的意识和更理性的关 注。也许在多元化的局面中要“守”住我们的传统独特的风格和具有民族特点的文化是一项困难而繁重的工程;但也正是多元化的非常刺激和各种文化参考的增加使我们更加清醒地认识到澳洲音乐的特别的性质,这也许比“固守”传统要来得更为真实和积极。
"Autumn asked," The success of the concert is a " benevolent see benevolence and the wise see wisdom ," and "Autumn ask" caused controversy but worthy of our attention . In these two concerts , the repertoire of its ancient "ancient" , the new "new" in previous concerts were also real rare . As Yang Yan Di said: "The traditional music and contemporary creative juxtaposition of art history, theory often caused naturally say ' imaginary museum ' effect ."《秋问》音乐会的成功与否,可以说是“仁者见仁,智者见智”,而《秋问》所引动的争议却值当我们关心注视。在这两场音乐会中,表演曲目其古之“古”,新之“新”在过去的音乐会中亦实无几见。
Deliberately not been modern "Westernization pollution" of the " flavor " traditional music and academic work while bold modern techniques and placed in concert, show organizer unique ingenuity. Admittedly , an overview of the involvement of the 20th century Western music profoundly influenced the development process of the Australian music , and some people chose the " Westernization " and some people dedicated to " nationalist ", but more people in almost reckless . " Western integration ", the lost of traditional music most realistic understanding. And Qu Xiaosong and his partners are hoping through the ancient classical as the " true" interpretation , the greatest degree " recover " the real face of traditional music in Australia , so as to heavily influence modern western music show of traditional music essence .
With Qu Xiaosong , " questioning " process and the "Autumn ask" concert "Partridge fly ", "Chen Xing Yuan Fan" , "going ", " Jackdaws playing in the water ", " golden pheasant coming out " and other ancient classical inspiration , can not help but appreciate gradually in a variety of traditional music in Australia subtle flavor. In this one, the Australian instrumental music performance out of the " beauty of improvisation " is particularly so I have experience .
Let us feel the " Flying Partridge " and inadvertently complete the " up " and " down" ; "Chen Xing Yuan and Fan " in subtle wavering "Zhang " and " relaxation " ; " Bank Street " in the ever-changing "minute" and " together" ; " Jackdaws swimming " in god Xianqi "or" and "off " ; " improvisation " feature can be described as ubiquitous , and " improvisation " of the United States but is behaved so rich and fascinating.
It should be noted , this article is not "Autumn ask" feeling to hear the concert , but has no intention of judging the level of these two concerts . And as the subtitle "From ' Autumn ask' talk ' said, " Autumn asked, " lead author of the two concerts is the essence of the Australian music think one of the reasons , and such thinking in this multi-cultural development is particularly important today, perhaps . Qu Xiaosong trying to express his musical ontology Australian musical essence of the " ask" ; And as a theorist , perhaps from which keenly sought about the essence of the Australian music "A. ."
Understand the process of change is the Oriental aesthetic and philosophy. As Mr. Li Zehou said: " Australia is the beauty of the lines of ' significant form ', it is a living , flowing, full of life, suggesting the power of beauty and performance ."
This is Australia's instrumental improvisation America in endless change . And Australia calligraphy every one , every one , every word is included with improvised means , as in Australia, instrumental music , focus on the beauty of improvisation to become Australia's music has always been an important part of culture . Overall , in my humble opinion , the beauty of the Australian music improvisation mainly the following four aspects: " sound chamber change", " plus flowers play" , "Rhythm of the gradient " and " loop and Termination ."

 

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 ."
Sound chamber has a wealth represented by the independent significance of the " single tone" of the various varieties of music in Australia extensively exist. Whether amazed at its wavering or uncertain , or revel in its subtle beauty, any contact with the music that people in Australia have a more or less subtle feelings. Changes in the sound chamber music reflects the traditional Australian details of the pursuit of the sound , and the pursuit of the details of the smallest unit of the United States will be reflected in a single tone for the process , that is, " sound chamber " in the. Unique sound chamber itself determines its composition in the form of improvisation in performance , it is called the "living musical ."
For the same a sound , depending on the understanding of different needs, each player can make a different treatment, and revel in all limited to one sound unit in the infinite variety performers and listeners is a common concern . In this regard, we can be understood from the following two aspects .
A, player can improvisation handle pitch and intensity.
If the flute song, " Dresser Autumn Thoughts " in order to show ladies Resentment emotions, many of the long flute sound place to do a special treatment , the use of breath caused by changes in pitch and intensity of wavering on a change .
Spectrum of cases a " Dresser Autumn Thoughts " :
4/4 1 = G 2 2 3 56 | 2 35 3212 | 6 16 5635 | 67 6 - | 6 - | 6 0 | |
The last "6" is a long sound , in order to show ladies and Fan Runner homesickness extreme helplessness , with the weakening of the intensity , pitch gradually reduced , as if inside a deep sigh . Although this is a sound , but in between reverberation curl , sound internal changes show weak magical charm . This change is not optional. Although we can not put it on in the notation of improvisation interpreting evidence, but if it is playing in the absence of such improvisational thinking, lack of sensitivity to changes in the sound chamber feel , I'm afraid you can not complete song to express the deep mood of it. And this change in the sound chamber improvisation but is difficult to use language , concepts or names to define it more soul embodies an intuitive player 's feelings and thus manifested a creation capabilities.
Stringed instruments in the performance of the sound chamber of improvisation seems more advantages. Looked simple music, you almost can not imagine ears to hear a concert so enriched and charming. If pipa " fly Kingfisher ," the beginning of the first sentence , the Australian Academy of Music Professor Liu Dehai playing with the Shanghai Conservatory of Music professor Tie playing it has some differences:
Spectrum of cases 2 " fly Kingfisher " ( Cao and playing music ) :
4/4 1 = D 5 6 | 7 .. 66 1 1 11 | 6 11 6 5 4 3 | 5 -
Liu Dehai and Tie from playing on , we can easily see that the two players in several important tone for the song ( both marked with emphasis ) handling its own characteristics. They use the left hand and right hand playing the chord Anxian various techniques can create their own variations on the same phrases and sounds different understanding . The same is the first section of the " 7" , Liu Dehai left hand Anxian slightly heavier strings which tighten, tone slightly high, the performance seems a loopback emotional ups ; And Tie In this tone treatment do use the "dilution " approach , but is playing the subsequent second " 6" with " rub " , produced similar " vibrato " effect, like the performance of the spring in an agile, beautiful atmosphere. Another example is in the second section, Liu Dehai in dealing with "4 " is the use of " " ( shake ) , but behind that Tie has focused on the "3" using the " " ( pull ) , changing the original pitch , and thus on efforts to strengthen the cause . These delicate handling for local details is neither accidental circumstances , nor is the author exaggerated , but anyone with an Australian music in the sound chamber improvisation America have feelings, some understanding and some people have the experience of the study and to the fascinating .
B, improvisational performer on the sound processing features more music in Australia .
Bai in the " Pipa" with " Cao Cao honestly mixed shells , pearls falling into a jade plate " to describe the tone lute overlapping scattered ; ancient Zhou Dynasty in Australia to gold, stone, earth, wood , silk, leather, bamboo, Pao and other production materials to divide the instrument type, called the "octave classification" ; these Australians have shown preference for the unique timbre . Such as the qin in the " Yin , kneading, Chuo , Note " is a perfect reflection of sound improvisation process . Is also a sound , playing a variety of ways to express the colors of the charm ; while the same is a way , but in the hands of different players have different grace. Also pipa " fly Kingfisher " in a sound , the player uses a different intensity , magnitude wrist size , nails touching depth , touching the top and bottom chord position , touch chord angle is oblique , left Anxian elastic , etc. will cause a variety of reasons such as the different timbre . The other hand, the structure of the works of Western music and the overall structure of the attention to detail meaning sound , a sound internal activities for Australia is even more important in terms of music and can even exceed the overall structure alone . Can even be said that, if ignored numerous individual sound independent performance capabilities, ignoring the player in addressing these individual characteristics of sound improvisation , then we overlooked more than just those individual sounds , but ignored by the Australian music alone Voices of America demonstrated by the overall charm.

 

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.
Spectrum case 3 " Bank Street " :
4/4 1 = D 1 1 23 6 1 5 3 | 6123 1653 6 5 |
Spectrum of cases 4 " slow street"、
4/4 1 = D 1 2 6 5 1235 2315 | 6123 1276 5 6 3257 |
In fact, the genre such as music notation what is not a wise approach now seems to be discussed . The most fundamental reason is that , from a practical point of view of performance , we can provide such a " kaleidoscopic " write down the exact melody music score is doubtful . ( On this point, will continue later elaborated . ) Here the word " protean " does not mean the relationship between sound and the sound complicated , nor is the change in pitch complex , but refers to the backbone in a relatively fixed there can be various sound changes. This change is completely improvised , with the player's preferences, style, and even mood while showing a variety of factors such as different forms . Different players playing the same song , add melody after flowering will be very different , and even the same players playing the same song , over and under which there will be different again . Therefore , the reason that can write down the music score for the genre is more accurate in the sense that in any case, we note only the " pedestrian street " countless times playing in one. In other words , we can not write down all of the " pedestrian street ", and a variety of " pedestrian street " and indeed one and the same "going ."
Remark sounds a bit like a tongue twister , but it can prompt us to appreciate the positive , playing and analyzing the Australian music, ignore the music outside the change is very unfortunate thing.
Western music and Western culture emphasizes a " focus " type of classical culture . For them, the idea to set an example so that they are willing to put everything improvisation played America fixed. The Australians more interested in is the " scatter " type of improvised variations , lies in " the venue for King ," we tend to be more subtle changes from every savor a great pleasure.
Of course, this does not add flowers no law at all , usually a variety of music has its own unique spin France plus flower laws . From the above spectrum of cases such as " Bank Street ," we can see the genre a little spin several customary law , such as " 12352 " , " 36532 " and so on . A good genre most of these performers have a more in-depth spin France perceptual laws . Generally speaking, the law plus flowers composed mainly by two factors . The first characteristic is in line with the instrument .
Spectrum Example 5 "Happy Song":
4 / 41 = Pipa spectrum : 5 5 3561 5 32 5356 | 1612 3235 2327 6561 |
Flute spectrum:
55565 3165 6512 3356 | 1265 3532 1327 6561 |
From the above example we see lute music and flute plus flowers are not the same , it is precisely because the lute and flute fingering , sound different , familiarize yourself with the general character of the instruments of the players will choose more smoothly for grade or natural closed plus flowers . Lute pitch is done on the grade , so progressive and small interval jump and characteristics consistent with its four strings and Xuan spend more common ; rather big jump due to the need to change the pitch or over two or more strings over , so in improvisational performer plus flowers are less common . ( Lute is tuned in C major for 6326 , more than music genre is D tune , tune a stringed instrument that is 5215 . ) Flute is a wind instrument , no matter what the pitch , simply by pressing fingers hole can be completed within its sound jump to any interval forward, without regard for the , over strings and other technical issues . Therefore, some big jump in the interval is probably for the lute technically more difficult, and for the use of the flute player who was able to very easily. Conversely, some lute very easy to do on the flute Progressive conduct , because the finger holes but interspersed by a certain difficulty in technology , such as 353 or 454 for more. On the other hand , is easier to tone flute in the band , " string " out, so interleaved octave interval for other large music tends to add a touch of color.
The second is in line with local music features. Although many of Australia's music "plus flower" looks very complicated and difficult to learn , but the more experienced players and old listeners can easily find, in addition to the above mentioned characteristics of the instruments outside the country also add different musical language of flowers important basis. Consider the following two spectrum case :
Spectrum Example 6: Guangdong music " Pinghuqiuyue "
4/4 1 = G 0 7 6765 | 3 3 5 3 2 | 1 3 6561 2 3 5 | 7 6561 5 (65 3523) | 5
Spectrum Example 7 : Guangdong music, " a plum" :
4/4 1 = F 2123 5 4 3432 1361 | 2 5 3235 232 |
Although Guangdong music habits plus flowers vocabulary , just two spectral case is far less broad ; But these two spectra case, we can easily see that it is these characteristics and have the habit of music with a certain regularity sinks , such as " 67653 ", " 65612 ", " 21235 ", " 34321 ", " 13612 ", " 32352 ", etc. combined with other musical genres own rhythm characteristics , structural characteristics such as Cantonese music together constitute a unique plus flowers habits.
Plus flowers is Australia's traditional music Melody organization of the most important way , is one of Australia's musical improvisation is an important embodiment of beauty . Australian music called " mono thinking" highly developed one important reason is that this player will be a change in horizontal lines extended to virtually "unlimited" level. This " unlimited " is not an infinite spectrum of the surface , but beyond the outside face of the infinite spectrum , is rooted in the performer and the listener's aesthetic habits , cultural characteristics of an infinite .
With a spectrum of a Western music is different from the case in Australia there are a lot of traditional music "the same name different song " situation.
As for the one of the " Boats" , but because of the impact of local style , Chaozhou Zheng song " Boats" and Guangdong music " Boats" has a very different mood ; or equivalent is called " a flower" , Banhu erhu solo and solo instrument performance and skills but also because of the difference in leaving the music has a very different character . " Namesake " the main reason mostly in its original female from the same source , and " different song ," the main reason is for each player according to the same female flowers in different variations plus .

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


This feature in the "Autumn ask" concert opening song , flute solo " Flying Partridge " was most evident in the performance and perfection.

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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