音樂即興：理論與實務初探

Abstract

本論文係從美學觀點，討論音樂即興的概念與現象。為解決長久以來，音樂即興定義的混淆與爭論，本論文從理論與實務兩個層面著手。就理論面而言，先回顧歐洲音樂史，檢視作曲興起與即興沒落的歷程，發現作曲傳統的建立，實與複音音樂的發展有關，也正由於作曲概念的出現，人們才意識到「即興」這個相對意義的存在。反觀其他無作曲傳統的文化，雖然有即興實務，但在作曲概念未植入前，並沒有「音樂即興」的用詞。因此，本論文將音樂即興區隔為狹義的即興與廣義的即興兩大層次，前者為音樂創作的快速展現，後者則泛指音樂的變化。 在即興實務方面，區分了開放式即興與封閉式即興兩大類，並自各音樂文化，選取實例，深入分析其特性。結果發現，開放式即興的音樂較缺乏結構性與對稱性，往往必須依附正曲而存在；封閉式即興的音樂結構性較強，演出者所能發揮的空間也較小。由此推論，前者係源自真正的即興，後者則有作曲的介入。從這兩大類的音樂特性，也可以看到即興與作曲的互動以及對音樂發展的影響。This dissertation studies the concept of musical improvisation from an aesthetic point of view in both theoretical and practical approaches to solve the problems and difficulties in defining musical improvisation. In theoretical approach, history of traditional music in Europe is reviewed, so as to see the process of the rise of composition and the decline of improvisation. People were aware of the existence of improvisation only after its opposite side, composition, came out. This fact can be further verified in oral tradition in which there is no differentiation between composition and performance. Therefore, it is suggested to define musical improvisation separately in a broad sense and in a narrow sense. In a broad sense, musical improvisation means change in performance, while in a narrow sense, it means musical creation in performance. In practical approach, musical improvisation can be classified into two categories, the open improvisation and the closed improvisation. After analyzing several examples of improvisatory music from different cultures, it is found that the open improvisatory music is less structural and less symmetry, but gives more opportunities for virtuoso performances. Based on the different characteristics of the open improvisation and the closed improvisation, it can be inferred that the former may originate from the stage, being the“true”improvisation, and the latter was influenced by composition. The interaction between improvisation and composition and its impact on the development of music can also thus be clarified.