Saturday, March 15, 2014

The performer as Composer 演奏者即是作曲者

The performer as Composer -- from the book [Music of the Billion - An Introduction of Chinese Musical Culture]... "The ultimate judgement of the accomplishment of a performer was primarily based on his re-compositional ability, and the determination of a master level of musical achievement depended upon the favorable comparison of the newly recomposed version with the previous older version and any other contemporaneous versions. Thus the same piece exists in many versions, that is, bearing the same title and sharing thematic similarities. Beyond this, there may be differences in melodizationl, rhythmical, and dynamic interpretations. In this restricted sense of composing, the performer then has the freedom to create upon a given image (thematic music material) his personification of the chronomic, socio-cultural and regionalized conditions."

That is exactly talking about qin performers, isn't it?


演奏者即是作曲者

以下截錄自 [Music of the Billion - An Introduction of Chinese Musical Culture]一書,我的翻譯

...最終判斷一個演奏者的成就主要是基於其對於舊曲重新詮釋的能力, 同時對於大師級的音樂者的成就是取決於對他的重作的曲目拿來和較早先人的同曲目以及其他同期的同曲目的不同詮釋作的適宜的比較. 因此同曲存在著許多不同版本, 有著同名, 有類似的主題. 但會有不同的旋律, 韻律, 及運作的詮釋. , 演奏者因而在這樣有限制的作曲觀內,在已知的主題概念之上自由發揮.

古琴演奏者不正是如此嗎?

"Re-compositional Craftsmanship

From what is know through historical documentation - written literature and music manuscripts - and through oral documentation, the majority of Chinese music compositions are re-composed from existing folk and popular oral and written musical sources. ... Musical composition, therefore, is most often a re-arrangement, an assemblage or a new version of a previous composition. "

在已存在之曲目中重新詮釋之技藝

中國傳統音樂的創作主要是從民歌, 地方歌謠的基礎上重新創作, 這些民歌或地方歌謠大多是由口傳或從已流傳的譜子中, 或已知的史料文獻中取得... 傳統中國音樂的創作因而是指重新詮釋已存舊曲.