Listening to Builders

IF 0.4 2区 艺术学 0 MUSIC JOURNAL OF MUSICOLOGICAL RESEARCH Pub Date : 2020-07-02 DOI:10.1080/01411896.2020.1773264
David Hyun-su Kim
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引用次数: 0

Abstract

ABSTRACT The most superficially apparent feature of the Historically–Informed Performance movement is the use of “historically-appropriate” instruments. Interest in such instruments has grown alongside the dedication and expertise of instrumental builders and restorers who have performed extensive research on antique instruments. Thanks to their efforts, modern musicians have access to high-quality copies and restored antiques that offer inspiring musical insight. Despite these opportunities, the relationship between players and instrument-builders has not fundamentally changed: the vast majority of musicians lack basic organological knowledge and—in a perhaps telling irony—the close relationship that musicians of the common practice period had with instrument-makers remains anomalous, even amongst HIP-sters. Interviews with six of the world’s foremost fortepiano builders demonstrate the musical and interpretive relevance of organological knowledge by transmitting piano-technical information for the performer, while arguing that builders are an integral part of music-making, as they wrestle with musical and historical topics just as musicians do. With the impressive wealth of knowledge that builders have acquired in the past decades, the time may be ripe for the serious consideration of instruments to become a meaningful and indispensable part of the contemporary interpretive process.
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倾听建设者的意见
基于历史的表演运动最明显的特征是使用“符合历史的”乐器。对这些乐器的兴趣随着乐器建造者和修复者的奉献和专业知识的增长而增长,他们对古董乐器进行了广泛的研究。由于他们的努力,现代音乐家有机会获得高质量的复制品和修复的古董,提供鼓舞人心的音乐洞察力。尽管有这些机会,演奏者和乐器制造者之间的关系并没有从根本上改变:绝大多数音乐家缺乏基本的器官知识,而且——也许是一种讽刺——普通练习时期的音乐家与乐器制造者之间的密切关系仍然是反常的,即使在hip - hop爱好者中也是如此。对世界上六位最重要的钢琴制造者的采访表明,通过向演奏者传递钢琴技术信息,有机知识在音乐和解释上的相关性,同时认为制造者是音乐创作的一个组成部分,因为他们和音乐家一样,在音乐和历史话题上角力。由于建设者在过去几十年中获得了令人印象深刻的知识财富,对乐器的认真考虑成为当代解释过程中有意义和不可或缺的一部分的时机可能已经成熟。
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来源期刊
CiteScore
0.30
自引率
0.00%
发文量
17
期刊介绍: The Journal of Musicological Research publishes original articles on all aspects of the discipline of music: historical musicology, style and repertory studies, music theory, ethnomusicology, music education, organology, and interdisciplinary studies. Because contemporary music scholarship addresses critical and analytical issues from a multiplicity of viewpoints, the Journal of Musicological Research seeks to present studies from all perspectives, using the full spectrum of methodologies. This variety makes the Journal a place where scholarly approaches can coexist, in all their harmony and occasional discord, and one that is not allied with any particular school or viewpoint.
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