| Summary: | 博士 === 國立臺灣師範大學 === 音樂學系 === 99 === This dissertation studies the concept of musical improvisation from an aesthetic point of view in both theoretical and practical approaches to solve the problems and difficulties in defining musical improvisation. In theoretical approach, history of traditional music in Europe is reviewed, so as to see the process of the rise of composition and the decline of improvisation.
People were aware of the existence of improvisation only after its opposite side, composition, came out. This fact can be further verified in oral tradition in which there is no differentiation between composition and performance. Therefore, it is suggested to define musical improvisation separately in a broad sense and in a narrow sense. In a broad sense, musical improvisation means change in performance, while in a narrow sense, it means musical creation in performance.
In practical approach, musical improvisation can be classified into two categories, the open improvisation and the closed improvisation. After analyzing several examples of improvisatory music from different cultures, it is found that the open improvisatory music is less structural and less symmetry, but gives more opportunities for virtuoso performances. Based on the different characteristics of the open improvisation and the closed improvisation, it can be inferred that the former may originate from the stage, being the“true”improvisation, and the latter was influenced by composition. The interaction between improvisation and composition and its impact on the development of music can also thus be clarified.
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