Typology and Internal Logic of On-site Improvisation in Cantonese Music Ensemble
Abstract
of "fixed notation, flexible performance, and elaborate ornamentation." Existing research focuses mostly on notation, schools, and performing techniques, yet remains insufficient in systematic classification, ontological analysis, and logical construction of ensemble improvisation. Based on fieldwork in folk private music clubs, semi-professional ensembles, and professional troupes, this paper adopts a "techniqueinteraction-culture" framework and classifies on-site improvisation into three types: decorative, structural, and dialogic. It analyzes technical
features and scenarios, extracts the four-in-one technical logic of mode-melody-rhythm-voice, and interprets the aesthetic logic of "elegance
and agility, freshness and brightness, integration of reality and emptiness, " revealing the inherent unity of technique and aesthetics. The study
concludes that ensemble improvisation represents collective creation under traditional conventions, individual expression in collaborative performance, and a key carrier of living heritage. Differentiated practices in various arenas jointly sustain the stylistic genes and cultural identity
of Cantonese music.
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DOI: http://dx.doi.org/10.70711/rcha.v4i5.9724
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