时间：2008年5月26日星期一
地点：E研究院512室
授课教师：曹本冶教授
参与同学：林莉君、黄婉、高贺杰、齐江、廖松清、关怡宁、李松兰、文君、邹婧、谢晶晶
主讲报告人：李松兰（博士研究生）
（9） Widdess, Richard. 1994. “Involving the Performers in Transcription and Analysis: A Collaborative Approach to Dhrupad,” Ethnomusicology 38: 59-79.
作者简介：
理查德·维戴斯（Richard Widdess），现任英国伦敦大学东方和非洲研究学院（The School of Oriental and African Studies 英文缩写： SOAS）教授，音乐学士，文学硕士，获得英国剑桥大学博士学位。担任音乐系教授，东亚研究中心及南亚研究中心成员，研究领域涉及北印度艺术音乐;历史上的音乐在南亚;尼瓦音乐;音乐理论与分析。所担任课程：世界音乐分析：民族音乐学记谱与分析、印度古典音乐、音乐分析导论、南亚文化中的音乐（研究生课程）、南亚文化中的音乐、声音和文化：非洲、犹太世界、西亚及中亚。
主要出版物：
（一）Authored Book（执笔的图书）
1．Widdess , Richard and Sanyal, R. (2004) Dhrupad. Tradition and Performance in Indian Music. Ashgate. 《Dhrupad：印度音乐中的传统与表演》
2．Widdess, D (1995) The Ragas of Early Indian Music. Clarendon Press (OUP).《早期印度音乐中的拉格》
（二）Chapter in Book（参与写作的图书）
1．Widdess, D and Wegner, Gert-Matthias (2005) Musical miniatures from Nepal: two Newar ragamalas. In: Pal, Pratapaditya, (ed.), Nepal: Old Images, New Insights. Marg Publications (Bombay, 81 91.)
2．Widdess, D (2001) Kirtana [and] Thumri [and] Dhrupad [and] Tala [and] Raga [and] Sruti [and] Sangita [and] Rasa [and] Gharana [and] Gat [and] Alapa [and] Kriti [and] Khayal. In: Sadie, S and Tyrell, J, (eds.), The New Grove Dictionary of Music and Musicians 2nd edition. Macmillan, various.
3．Widdess, D and S, H (2001) India, III: Theory and practice of classical music. In: Sadie, S and Tyrell, J, (eds.), The New Grove Dictionary of Music and Musicians 2nd edition. Macmillan, pp. 170-210.
4.Widdess, D and Wegner, G-M (2001) Nepal, Kingdom of, I. Music in the Kathmandu Valley. In: Sadie, S and Tyrell, J, (eds.), The New Grove Dictionary of Music and Musicians 2nd edition. Macmillan, pp. 757-760.
5.Widdess, D and Duran, L (2001) Picken, Laurence. In: Sadie, S and Tyrell, J, (eds.), The New Grove Dictionary of Music and Musicians 2nd edition. Macmillan, pp. 718-719.
6.Widdess, D and Ruckert, G (2000) Hindustani raga. In: Arnold, A, (ed.), The Garland Encyclopedia of World Music vol. 5: South Asia, the Indian subcontinent. Garland Publishing Inc., pp. 64-88.
（三）Article论文
Widdess , Richard (2006) Musical Structure, Performance and Meaning: the Case of a Stick-Dance from Nepal. Ethnomusicology Forum, 15 (2). pp. 179-213.
Widdess , Richard and Wegner, Gert-Matthias (2004) Musical Miniatures from Nepal: Two Newar Ragamalas. Marg. A Magazine of the Arts, 56 (2). pp. 28-39.
Widdess , Richard (2004) Caryā and Cacā: Change and Continuity in Newar Buddhist Ritual Song. Asian Music, 35 (2). pp. 7-41.
Widdess, D (2003) Time, space and music in the Kathmandu Valley. International Institute for Asian Studies Newsletter . 32.
Widdess, D (1994) Involving the performer in transcription and analysis. Ethnomusicology, 38/1 . pp. 59-80.
（四）Other其他
Widdess, D (2001) Spatial concepts and musical structure in a Nepalese Stick-dance. UNSPECIFIED.
2.Widdess, D (2000) India, III: Theory and practice of classical music. Macmillan.
3.Widdess, D (1996) Sacred music of India. UNSPECIFIED.
（材料来源：http://www.soas.ac.uk/staff/staff31997.php）
二、文章内容：
记谱分析需要在文化背景（the context of the culture) 中进行。（ P.59）因此这个分析记谱的过程最好包括表演者的参与。尤其在对即兴表演（improvisation据作者注释，这是一个不太准确的用词)的记谱分析中，应该向表演者作回放并征询意见。(P.60)
本文的个案试图将表演者纳入记谱和分析的整个过程。作者将讨论这个方法的优点和局限性以及对印度音乐表演和即兴表演的一些领悟。
优点
1、能够使录音中表演者意图不清楚的地方变得明确。
2、抽取出表演实践尤其关于即兴表演中（performance practice）难以或者无法用具体术语讨论的信息。
合作研究的局限性
1、在一些合作中，研究者的背景与合作者的关系会影响结论。（作者与Sanyal是平等的伙伴关系 equal partners，与Tagore合作时间较短)
2、Dbrupad的表演时间很长，中型表演也需要四十多分钟，因此记谱工作会延续几个月。此间表演者变为听者，不能非常确切地回想起演唱时瞬间的创造性想法。
3、任何记谱都会有一定程度的不准确和主观的判断。在合作研究中，作为准确性和主观性检查者的表演者没有反对使用五线谱。但Sanyal认为用特殊处理的五线谱来描述印度音乐的特点比完全使用西方术语更有效。因此在该文中，作者使用了经特殊处理的五线谱来记录印度音乐。
与合作者Sanyal（及其伴奏Tagore)关于北印度古典声乐类hbrupad的合作研究（collaborative study)
关于典型hbrupad的介绍
分为三个阶段
Ālāp：a structured improvisation
banadis:a composed song
Laykārī: variations
pakbāvaj 伴奏在Ālāp中很少，但贯穿banadis、Laykārī
在Ālāp和Laykārī中，improvisation非常重要。
在 Ālāp中关于记号与演奏
在合作中，Sanyal并不在意音调（pitch)因素, 而在意一些不常出现的非常短的音。同时还使用各种传统符号表示各种声音技巧，但是这些技巧的表演方法无法确定。P.64
由此得知，Ālāp中有很多独特的声音技巧，虽用符号标记，但表演方法却富于变化和想象力，无法固定表演方法。 P.64
需要表演者参与记谱才能真实地揭示传统记号的开放性含义。
在 Ālāp中
关于节奏(或律动pulse)
Ālāp 各段看上去没有节奏，但Sanyal认为Ālāp有节奏，并指出节奏的所在。结合录音机、电脑的使用，作者分析出了律动的规律。（p.68) 如果没有表演者明确指出在哪里发现律动，仅靠音符和音群的时值很难确认Ālāp的律动（pulse)。
表演者的明确指示和时间测量是客观记录Ālāp律动的必不可少的两个方面。 表演者的参与是必不可少的。 P.68
在Laykārī中，虽然合作研究的方法能阐释 Ālāp的很多方面，但信息并不总是直接的。有一些表演者本能的东西无法用语言表达，记谱分析提供了一个表演者能够给出线索的途径。P.68
对于为什么在即兴演唱中，歌者节奏的合拍、歌词的反复、与伴奏的默契、段落的成功进行等方面能即兴却顺利地进行，Sanyal无法解释原因，但指出Laykārī演唱时是完全没有事先设计，主要依靠“正确的情绪”。P.72
在Laykārī中
记谱分析印证了Sanyal的观点， Laykārī不是提前计划的，而是依靠自发的判断，反映出演唱者独特传统的基本美学取向。P.76
如果不预先记录乐谱，做出上述结论是困难的，因为乐谱可以唤起表演者的对细节的记忆，描述Laykārī即兴演唱过程中的细节。而 Sanyal认为即兴是靠自发的判断，即下来的谱子则提供了基本的分析线索。依此展开的记谱分析也刺激了他对这一观点进行提炼和引申。P.77
结论
在合作研究中，记谱（Transcription）作为非常有用的音乐学工具，一方面，表演者能解决乐谱和阐释（interpretation）的问题，另一方面，记谱（transcription）能解决表演者不能直接回答的问题。
对话和乐谱都有其局限性，两者结合才会更好地说明问题。
通过合作记谱研究，对表演的研究能够更加深入，同时提出了许多关于dhrupad传统和印度音乐中表演实践的新问题。（这些问题包括：装饰的性质、表演中装饰的传统种类的关系、 Ālāp的节奏组织、 Laykārī的节奏技巧和旋律性即兴演奏。）p.80
合作研究记谱的方法有助于对这类基础性问题的深度研究。
李松兰的感想：本文例子中讲到的对于没有听上去节奏的音乐的记谱分析在中国音乐中也有体现，比如古琴的韵律等。这个方法在我们的研究中多有运用。
曹老师的点评：
l 我们在做记谱分析时，常常要再回到表演者那里去征求意见。但本文作者强调的是在整个记谱分析中表演者的参与。在参与程度上与前者不同。
l 本文提到的improvisation 与西方的即兴演奏不同。
l 文章结构
Introduction
l Scholarly exchange depends on “writing about music”
l Transcription and analysis of music within its contexts
l Theme of the article proposed: “involving the performer in the process of transcription”
Discussion of Methodological Limitations
l Background of collaborator is important to the outcome
l Time-lag between performance and finished product of transcription and analysis
l Unavoidable imprecision in transcription
Discussion of the Process of Collaborative Transcription and Analysis – A Dhrupad
l Alap
l Laykari
Conclusion
l 按上列的文章结构，以下是曹老师希望同学在各节中注意的段落：
Introduction
l Scholarly exchange depends on “writing about music”
p. 59
Until technology replaces writing with some superior mode of communication, the essential professional function of any musicologist, whether claiming the prefix "ethno-" or not, is likely to remain that of writing about music; for it is through writing that his or her work becomes permanently and widely available to others…. Transcription is thus a tool of analysis as well as of communication.
l Transcription and analysis of music within its contexts
l Theme of the article proposed: “involving the performer in the process of transcription”
p. 60
One approach to this task might be to involve the performer or performers as closely as possible in the process of transcription and analysis. This approach would be particularly valuable in the case of music that is “improvised” to a significant degree.... The project described in this article attempted to pursue the twin objectives of involving the performer in transcription and analysis, and thereby eliciting insights into the processes of improvised performance. I shall discuss both the advantages and the limitations of the method, as well as some of the insights into performance and improvisation in Indian music that emerged.
Discussion of Methodological Limitations
l Background of collaborator is important to the outcome
p. 61
… the backgrounds of the researchers and their relationship will influence the outcome. Thus my training in Western musicology was reflected in the use of staff notation and in the assumption that the exercise of transcription is a valid one. Sanyal is somewhat unusual among Indian classical musicians, both in his academic training and profession, and in his familiarity with Western notation; the collaborative method would clearly be less appropriate where the performer is unsympathetic to the use of notation or to academic enquiry in general.
l Time-lag between performance and finished product of transcription and analysis
An inevitable limitation was that of time. Indian music takes time to perform…, and even more time to transcribe. There was an inevitable time lapse, extending to several months…between the performance itself and our analysis of the transcription. In the interim both the performers had become listeners…. There was therefore no possibility of reconstructing…a “protocol” – a running commentary on his own creative thought-processes by the artist (Sloboda 1985:123-138; 149). The use of notation to attain greater precision necessarily entails a loss of immediacy.
l Unavoidable imprecision in transcription
I do not propose to discuss here the limitations of manual transcription and of staff notation…; suffice it to admit that in any transcription there is an inevitable level of imprecision and of subjective judgment…. The involvement of the performers, however, acted as a check on both imprecision and the author’s subjectivity…we had modified conventional staff notation in order to take account of the characteristics of Indian music…, rather than representing the performance wholly in Western terms.
Discussion of the Process of Collaborative Transcription and Analysis – A Dhrupad
l Alap
l Laykari
pp. 76 – 77
Analysis of the transcription thus confirms Sanyals statement that his laykari is not planned in advance but is dependent on spontaneous decisions, reflecting a fundamental aesthetic preference in the particular tradition to which he belongs. It further indicates… (1) that the singer remembers and re-works rhythmic and melodic material from earlier in the performance, including melodic material from the composition; (2) that repetitions of text and changes in rhythmic pattern are made during the course of … improvisation…and (4) that the pakhavaj player, besides responding to and anticipating the singer’s rhythmic gestures, helps to guide the improvisation….
The above conclusions would have been difficult…to formulate without first making a written score, and equally difficult to demonstrate without the use of notated examples; the more so since the performers…were not able after the event to recall the decisions taken at specific points of the performance….
Conclusion
pp. 77 – 78
Transcription is thus a useful musicological tool, both for communicating ideas about music and for generating and formulating ideas…. The present experiment suggests that it is especially useful when used as part of a collaborative, dialectical enquiry involving the musicians themselves. On the one hand the performers can solve problems of notation and interpretation, while on the other hand transcription can throw light on questions that the performers cannot directly answer. While dialogue and notation each have their limitations, in combination they can be more illuminating than either alone….
