A Methodology for the Study of Improvisation

「即興｣在民族音樂學及跨領域的研究上，一向是重要的議題。而一般來說，對於採集音樂的再現，現今的研究方法多傾向於具象表現方式，也就是透過譯譜(transcription)做為音樂活動之記載。然而，從美學的角度，諸多內在的音樂特質在此方法上缺乏再現本質的可能性。本文之研究目的在於提供透視即興本質(Improvisatory quality)的研究論點，強調任何與即興議題之相關研究皆須建構在文化性的基礎上。透過審視雷納•梅耶(Leonard Meyer)的美學觀及卡爾•維特梅(Carl Whitemer)對即興曲式的論點，筆者發展出以「技巧」(technique)及「風格」(style)二個層面來剖析「即興｣的研究方法論點：非背譜或視譜的演奏／唱僅為即興技法的展現，與其是否具有即興風格乃為二個不同領域的議題。再之，即興在其技法或風格的呈現，須以比重式(boundary concept)的觀點做為研究方法，以致於除了具象譯譜以外，能在分析對象的抽象文化性上有本質上的了解。

關鍵字

即興；方法論；研究方法；雷納•梅耶；卡爾•維特梅

並列摘要

The study of ”Improvisation” has always plays a significant role in the field of ethnomusicology and relating studies. Generally speaking, the most difficult task is to turn the collected music into a visible form. Nowadays, researchers tend to use transcription recalling the results of improvisation. However, from aesthetic perspective, the method of transcribing often dismisses the cultural insights. The purpose of this study is to offer a methodology and enable the result of improvisation being understood from the perspective of aesthetics. The author develops ”boundary concept” by adopting Leonard Meyer's concept and T. Carl Whitemer's theory of improvisational form. By which, improvisation is understood from two directions: the technical and stylistic levels. They represent different aspects of improvisation and enable us to penetrate into more cultural messages behind the activity of improvisation.