【荐读】高拂晓｜音乐表演创造性的研究前沿及意义

“独学而无友，则孤陋而寡闻”

（《礼记·学记》），

“利可共而不可独”（曾国藩）。

知识共享，欢迎学习交流。

原文发表于《音乐艺术》2020年第4期

摘 要：

音乐表演创造性的研究作为音乐表演研究的一个新的阶段，以人格的、认知的和社会的几个心理学的面向为基础，从表演主体本身、主体间的关系，以及主体与环境的关系为观察视角，深入到音乐表演的技术训练、排练、演出、教学以及评估过程中，探索其规律和原则，不仅从方法论层面，而且在具体的研究内容上，对音乐的创造性人才培养和发展奠定了一定的理论基础。表演中的合作创造性研究作为当代音乐表演研究的最新潮流，强调了跨文化合作和多元文化交流的复主体性，更全面综合地考察表演问题，对我国当前音乐表演学科的学术建设和发展具有重要参考价值。

关键词：

音乐表演创造性；个体创造性；反思性学习；合作创造性；复主体性

基金项目：

2017年度国家社科基金艺术学一般项目“现代西方音乐表演理论发展与前沿研究”

（项目编号：17BD078）成果之一。

作者简介：

作者：高拂晓

中央音乐学院研究员、硕士研究生导师，英国牛津大学和美国芝加哥大学访问学者，“音乐名师大讲堂”主讲名师。主要研究领域是音乐美学、音乐表演理论及音乐评论。发表论文几十篇，约60余万字；出版专著有《期待与风格——迈尔音乐美学思想研究》《音乐表演艺术论》《音乐表演专业论文写作基础》。先后入选教育部“新世纪优秀人才支持计划”、霍英东教育基金会青年教师基础项目、国家社科基金艺术学项目，主持并参与完成多项国家级科研课题。

注释：

 1劳伦斯·德雷福斯（Laurence Dreyfus）在《超越音乐阐释》一文中，对“阐释”概念的历史演变进行了详细的论述，指出了历史上对于表演阐释概念的不同理解，以及它在19世纪中期之后被不同的音乐家和理论家广泛运用的各种含义。参见劳伦斯·德雷福斯：《超越音乐阐释》，高拂晓译，《超越音乐阐释》，《中央音乐学院学报》，2012年，第4期。

 2孙汉银：《创造性心理学》，北京：北京师范大学出版社，2016年，绪论，第23页。

 3张丽华、白学军：《创造性思维研究概述》，《教育科学》，2006年，第5期。

 4孙汉银：《创造性心理学》，北京：北京师范大学出版社，2016年，绪论，第3页。

 5徐展、张庆林：《关于创造性的研究述评》，《心理学动态》，2001年，第9卷，第1期。

 6林崇德：《创造性心理学》，北京：北京师范大学出版社，2018年，第201—208页。

 7林崇德：《创造性心理学》，北京：北京师范大学出版社，2018年，第305—310页。

8John Rink, Helena Gaunt and Aaron Williamon edited., Musicians in the Making: Pathways to Creative Performance, Oxford University Press, 2017; Nicholas Cook, Music as Creative Practice, Oxford University 

Press, 2018; Eric F. Clarke and Mark Doffman, Distributed Creativity: Collaboration and Improvisation in Contemporary Music, Oxford University Press, 2017.

9 John Rink, Helena Gaunt and Aaron Williamon edited., Musicians in the Making: Pathways to Creative Performance, Oxford University Press, 2017，pp.17-23.

10 Profiling是一个计算机术语，是指对数据的追踪分析，用在音乐表演研究中，它指的是对表演的反思性学习，包括自我意识、内在动机、任务处理、目标设定、操作过程以及评价等内容。见R. Chaffin and A.F.Lemieux, “General perspectives on achieving musical exellence”, in A.Williamon, ed., Musical Exllence: Strategies and Techniques to Enhance Performance, Oxford University Press, 2004, pp.19-39.

11 John Rink, Helena Gaunt and Aaron Williamon edited., Musicians in the Making: Pathways to Creative Performance, Oxford University Press, 2017，p.211.

12 G.A.Kelly, The Psychology of Personal Constructions, New York: Knopf, 1955.

13 H.Jorgensen, “Strategies for individual practice”, in A. Williamon, ed., Musical Excellence: Stratedies and Techniques to Enhance Performance, Oxford University Press, 2004, pp.85-103; H. Jorgensen and S. Hallam, “Practicing”, in S. Hallam, I. Cross and M. Thaut, eds., The Oxford Handbook of Music Psychology, Oxford University Press, 2009, pp.265-73.

14 J. Dunsby, Performing Music: Shared Concerns, Oxford: Clarendon Press, 1995.

15 John Rink, Helena Gaunt and Aaron Williamon edited., Musicians in the Making: Pathways to Creative Performance, Oxford University Press, 2017，p.282.

16 C. Rosen, Piano Notes: The Hidden World of the Pianist, New York: Free Press,2002,p.18.

17 John Rink, Helena Gaunt and Aaron Williamon edited., Musicians in the Making: Pathways to Creative Performance, Oxford University Press, 2017，p.267.

18 T. Clark, A. Williamon and A. Aksentijevic, “Musical Imagery and imagination: the function, measurement, and application of imagery skills foe performance”, in D. Hargreaves, D. Miell and R. MacDonald, eds., Musical Imaginations: Multidisciplinary Perspectives on Creativity, Performance, and Perception, Oxford University Press, 2012, pp.351-65.

19 John Rink, Helena Gaunt and Aaron Williamon edited., Musicians in the Making: Pathways to Creative Performance, Oxford University Press, 2017，p.139.

20 John Rink, Helena Gaunt and Aaron Williamon edited., Musicians in the Making: Pathways to Creative Performance, Oxford University Press, 2017，p.131-134.

21 Polifonia, Polifonia Working Group on Assessment and Standards, http://www.aecmusic.eu/polifonia/working-groups/assessment-standards(accessed 15February 2017).

22 F.A.Seddon, “Empathetic creativity: the product of empathetic attunement”, in D. Miell and K. Littleton, eds., Collaborative Creativity, London: Free Association Books, 2004, pp.56-78.

 23K. Sawyer., “Music and conversation”, in D. Miell, R. MacDonald and D.J. Hargreaves, eds., Musical Communication, Oxford:Oxford University Press, 2006, pp.45-60. 

 24 Andrea Creech and Susan Hallam, “Facilitating Learning in Small Groups: Interpersonal Dynamics and Task Dimentions”, in John Rink, Helena Gaunt and Aaron Williamon edited., Musicians in the Making: Pathways to Creative Performance, Oxford University Press, 2017，pp.57-72.

25 Jane Ginsborg，“Small ensembles in rehearsal”，in John Rink, Helena Gaunt and Aaron Williamon edited., Musicians in the Making: Pathways to Creative Performance, Oxford University Press, 2017，pp.182-183.

26 Elaine King and Anthony Gritten, “Communication and Interaction in Ensemble Performance”, in John Rink, Helena Gaunt and Aaron Williamon edited., Musicians in the Making: Pathways to Creative Performance, Oxford University Press, 2017，pp.306-319.

27 Adam Linson and Eric F. Clarke, “Distributed cognition, ecological theory and group improvisation”, in Eric F. Clarke Mark Doffman edited, Distributed Creativity: Collaboration and Improvisation in Contemporary Music, Oxford University Press, 2017,p.63.

28  A. Schutz, “Making music together: a study in social relationship”, in A. Schutz, Collected Papers II. Studies in Social Theory, ed. A. Brodersen, The Hague: Martinus Nijhoff, 1964, pp.159-78.

29 K. Sawyer, Group Creativity: Music, Theater, Collaboration, Mahwah, NJ: Lawrence Erlbaum, 2003, p.9.

30 G. Hagberg, “The ensemble as plural subject: jazz improvisation, collective intention and group agency”, in E. Clarke and M. Doffman edited, Distributed Creativity: Collaboration and Improvisation in Contemporary Music, Oxford University Press, 2017, pp.300-13.

31 Arnold Whittall, “Composer-performer collaborations in the long twentieth century”, in Eric F. Clarke Mark Doffman edited, Distributed Creativity: Collaboration and Improvisation in Contemporary Music, Oxford University Press, 2017, p.24.

32 R. Craft, Glimpses of a Life, New York: St Martin’s Press, 1992.

33 M. Nyman, Experimental Music: Cage and Beyond, Cambridge: Cambridge University Press, 1999, p.130.

34 M. Iddon, John Cage and David Tudor: Correspondence on Interpretation and Performance, Cambridge: Cambridge University Press, 2013, p.10.

35 M. Iddon, John Cage and David Tudor: Correspondence on Interpretation and Performance, Cambridge: Cambridge University Press, 2013, p.186.

36 Eric F. Clarke, Mark Doffman, David Gorton and Stefan Ostersjo, “Fluid practices, solid roles? The Evolution of Forlorn Hope”, in Eric F. Clarke Mark Doffman edited, Distributed Creativity: Collaboration and Improvisation in Contemporary Music, Oxford University Press, 2017, pp.132-134.

37Nicolas Donin,“Domesticating gesture: the Collaborative Creative Process of Florence Baschet’s Streicherkreis for Augmented String Quartet(2006-08)”, in Eric F. Clarke Mark Doffman edited, Distributed Creativity: Collaboration and Improvisation in Contemporary Music, Oxford University Press, 2017,p.83.

38 Christopher Redgate, “Composition changing instruments changing composition”, in Eric F. Clarke Mark Doffman edited, Distributed Creativity: Collaboration and Improvisation in Contemporary Music, Oxford University Press, 2017, pp.141-154.

39 Mark Doffman and Jean-philippe Cavin, “Contemporary Music in Action: Performer-composer collaboration within the conservatoire”, in Eric F. Clarke Mark Doffman edited, Distributed Creativity: Collaboration and Improvisation in Contemporary Music, Oxford University Press, 2017, pp.189-190.

40 Una M. MacGlone and Raymond A.R. MacDonald, “Learning to Improvise, improvising to learn: a qualitative study of learning processes in improvising musicians”, in Eric F. Clarke Mark Doffman edited, Distributed Creativity: Collaboration and Improvisation in Contemporary Music, Oxford University Press, 2017, pp.278-292.

41 Sinead O’Neill and John Sloboda, “Responding to performers: listeners and Audiences”, in John Rink, Helena Gaunt and Aaron Williamon edited., Musicians in the Making: Pathways to Creative Performance, Oxford University Press, 2017，pp.327.

42 Nicholas Cook, Music as Creative Practice, New York: Oxford University Press, 2018, p.21.

43 R. I. Godoy, “Key-postures, Trajectories and sonic shapes”, in D. Leech-Willkinson and H. Prior, eds, Music and Shape, New York: Oxford University Press, 2017, pp.4-29.

44 J. Blacking, A Commonsense View of All Music: Reflection on Percy Grainger’s Contribution to Ethnomusicology and Music Education, Cambridge: Cambridge University Press,1987, p.75.

45 D. Leech-Willkinson, “Musical shape and feeling”, in D. Leech-Willkinson and H. Prior, eds, Music and Shape, New York: Oxford University Press, 2017, pp.359-82.

46 Shannon Dudley, “Musical ambition and community-building in Trinidad and Tobago’s steel orchestras”, in  Tina K. Ramnarine, Edited, Global Perspectives on Orchestras: Collective Creativity and Social Agency, New York: Oxford University Press, 2017, pp. 58-80.

47 Christopher L. Ballengee, “Steel orchestra and tassa bands: multiculturalism, collective creativity, and debating co-national instruments in Trinidad and Tobago”, in Tina K. Ramnarine, Edited, Global Perspectives on Orchestras: Collective Creativity and Social Agency, New York: Oxford University Press, 2017, pp. 81-99.

48 Henry Johnson, “Context, community and social capital in the governance of a New Zealand orchestra”, in Tina K. Ramnarine, Edited, Global Perspectives on Orchestras: Collective Creativity and Social Agency, New York: Oxford University Press, 2017, pp. 44-57.

49 Ananay Aguilar, “Pioneering the orchestra-owned label: LSO Live in an industry in crisis”, in Tina K. Ramnarine, Edited, Global Perspectives on Orchestras: Collective Creativity and Social Agency, New York: Oxford University Press, 2017, pp. 100-118.

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