自即興觀點看不同樂種的共通特質

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dc.contributor.author劉新圓zh_tw
dc.contributor.authorHsin-yuan Liuen_US
dc.date.accessioned2014-10-27T15:02:35Z
dc.date.available2014-10-27T15:02:35Z
dc.date.issued2013-05-??zh_TW
dc.description.abstract音樂即興，依作曲介入的程度，有層次的差別，越接近「絕對作曲端」者，自由度越小；反之，越接近「絕對即興端」者，自由度越大。本文所討論的，係靠近「絕對即興端」的音樂，以客家八音絃索樂導奏、鋼琴前奏曲以及印度的阿拉普為例，透過跨樂種比較，深入觀察不同文化的音樂所呈現即興的共通特質。zh_tw
dc.description.abstractFreedom in musical performance can depend on the degree of “predetermined” composition: “absolute composition” implies a lesser degree of freedom in performance, whereas “absolute improvisation” seems to suggest the most freedom for the performer. This article discusses music closer to the point of “absolute improvisation”, which may arise at the point of performance. Various musical examples, including the introduction of the Hakka xiansuo bayin, a piano prelude, and the alap in India are analyzed and compared, in order to hopefully discover some common features of improvisation among these examples from diverse musical backgrounds.en_US
dc.identifier2AB07F3F-B137-6305-DC4D-03E9459AEDF1zh_TW
dc.identifier.urihttp://rportal.lib.ntnu.edu.tw/handle/20.500.12235/7219
dc.language中文zh_TW
dc.publisher國立臺灣師範大學音樂學院zh_tw
dc.publisherCollege of Music, NTNUen_US
dc.relation(18)，127-157zh_TW
dc.relation.ispartof音樂研究學報zh_tw
dc.subject.other音樂即興zh_tw
dc.subject.other作曲zh_tw
dc.subject.other客家八音zh_tw
dc.subject.other前奏曲zh_tw
dc.subject.other阿拉普zh_tw
dc.subject.otherMusical improvisationen_US
dc.subject.othercompositionen_US
dc.subject.otherHakka bayinen_US
dc.subject.otherpreludeen_US
dc.subject.otherAlapen_US
dc.title自即興觀點看不同樂種的共通特質zh-tw
dc.title.alternativeThe Common Features of Improvisation among Various Musical Cultureszh_tw

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