约翰•林克（John Rink）教授任教于英国剑桥大学音乐系，是国际知名的音乐学专家。他身兼剑桥大学音乐演奏学的教授及剑桥大学圣约翰学院的院士。约翰•林克教授在学生时期曾经就读过的学校包括美国普林斯顿大学、英国伦敦大学国王学院、以及英国剑桥大学。

 

约翰·林克教授的研究范畴包括萧邦的音乐、音乐理论及音乐分析等。他在音乐演奏学超过二十五年的研究成果令他成为此领域的佼佼者。另外，他在音乐学的数字化应用方面也有着超卓的成就，美国的「安德鲁·麦伦基金会」及英国的「艺术与人文研究委员会」都曾经拨款予约翰·林克教授做此方面的研究。其中「艺术与人文研究委员会」最近拨给他的款项是该委员会历来最大笔的学术拨款。约翰·林克教授在音乐演奏学方面的研究早在大学本科时期就开始，他在美国普林斯顿大学的本科论文题为「演奏中的分析过程」。在剑桥大学完成关于萧邦音乐即兴性的博士论文之后，他一直竭力推动音乐演奏学在音乐学当中的发展，并在此领域有全球领导性的地位。其中，他甚有影响力的著作《演奏实践 : 音乐演绎的研习》以全面的角度窥视音乐演奏学，探讨一系列影响演奏家对音乐概念理解的因素。方向类似的《音乐演奏 : 知识指南》强调在时间里和透过时间感受音乐，这也是他在研究音乐形态及音乐姿态 方面的重点。

约翰·林克教授目前领导一项获得「艺术与人文研究委员会」拨款总值二百一十万英镑（大约两千万人民币）的研究计划 ──「音乐演奏的创造力与实践性」(www.cmpcp.ac.uk)。这项规模庞大的五年研究计划以剑桥大学为基地，并与多所英国顶尖高等院校合作进行，当中包括牛津大学、伦敦国王学院及伦敦大学皇家霍洛威学院。其中，他个人的研究项目与英国两间顶尖音乐学院（皇家音乐学院及吉尔德侯音乐与戏剧学校）联合进行。约翰·林克教授是《完整的萧邦 : 一个具新视野的版本》四位系列编辑的其中一位，他也是由「安德鲁·麦伦基金会」拨款研究的《萧邦手稿集注在线》的总监。同时，他身兼由「艺术与人文研究委员会」拨款总值一百万英镑（大约一千万人民币）的研究项目「录音音乐历史及分析中心」的联合总监。他也是「艺术与人文研究委员会」的顾问团成员之一，负责为委员会提供长远发展的意见。

约翰·林克教授经常在世界各地的学术会议上发表主题演讲，近期的主题演讲包括在希腊举行的「第十二届音乐感官与认知国际会议」（２０１２年７月）、希腊亚里斯多德大学举行的「第八届欧洲音乐认知学会三年会议」（２０１２年７月）、巴西举行的「第二十二届国家音乐研究协会会议」（２０１２年８月）及新加坡举行的「第二届演奏家之声座谈会」（２０１２年１０月）。另外，约翰·林克教授曾在多个国家的顶尖学府举办钢琴大师班和讲座，其中包括美国伊斯曼音乐学院、首尔国立大学、芬兰的西贝柳斯音乐学院、澳洲的阿德莱德大学、以及多所英国著名音乐学院。

约翰·林克教授在教学方面也不遗余力，多年来致力于培养年青一代的音乐学学者，他的学生任教于世界各地的高等学府，包括英国的伯明翰大学及赫尔大学、希腊的萨洛尼卡大学及中国的澳门大学等。由他编辑并由剑桥大学出版社出版的《音乐演奏 : 知识指南》更成为近年全球最畅销的音乐书籍之一，被翻译成多国语言（如西班牙文和法文等）之外，更被欧美以及世界各地的高等院校广泛采纳为音乐科教科书。

在钢琴演奏方面，他获得英国吉尔德侯音乐与戏剧学校颁发的「音乐会演奏文凭」及钢琴演奏的「一等奖」。他经常于世界各地举行讲座独奏会，并在英国萨里的Hatchlands公园音乐厅内举行音乐会，在萧邦生前弹过的钢琴上原汁原味地演绎作曲家的风格，广受好评。约翰·林克教授拥有一部１８４６年制造的普莱耶尔(Pleyel)牌钢琴，并在现代和复古演奏风格上都甚有研究。

剑桥大学出版社总共为约翰·林克教授出版过六本书：１９９５年的《演奏实践 : 音乐演绎的研习》、１９９７年的《萧邦钢琴协奏曲》、２００２年的《音乐演奏 : 知识指南》、２００９年的《剑桥指南 : 录音音乐》以及２０１０年最新出版合共九百九十三叶的《萧邦第一版乐谱注释目录》，此《目录》其后更获颁两项权威性国际大奖──國際音樂圖書館協會颁发的２０１１年「CB奧德曼獎」和２０１２年「杜克莱斯奖」。同时，此《目录》被世界各地的音乐学学者公认为历来对于萧邦一手资料最全面、最透彻和最具开创性的研究，國際音樂圖書館協會曾这样描述此作品 :「具有出色的结构、拥有学者的风采，为人类对历史的认识和追求带来不可或缺的贡献，是音乐学参考书目的典范」。

约翰·林克教授获得过的奖项和赞助还包括 :１９７９至８２年攻读音乐硕士和「音乐会演奏文凭」期间的「马舍尔奖学金」、１９８２年至８３年巴黎美国基金会颁发的「哈里特·海尔·伍利奖学金」、１９８５年至８８年剑桥大学圣约翰学院研究基金会颁发的「研究生奖学金」、１９８５年至８８年的「海外研究生大奖」、１９９２年波兰音乐研究中心颁发的「威尔克奖」、以及２００３年颁给《萧邦钢琴协奏曲》的「威尔克图书奖」等。

约翰·林克教授的主要著述：

书籍

Ø      Christophe Grabowski and John Rink, Annotated Catalogue of Chopin's First Editions (Cambridge: Cambridge University Press, 2010). Recipient of the C.B. Oldman Prize, 2011 (IAML UK & Irl) and the Vincent H. Duckles Award, 2012 (Music Library Association).

Ø      The Cambridge Companion to Recorded Music, ed. Nicholas Cook, Eric Clarke, Daniel Leech-Wilkinson and John Rink (Cambridge: Cambridge University Press, 2009)

Ø      Musical Performance: A Guide to Understanding, ed. John Rink (Cambridge: Cambridge University Press, 2002; parallel eBooks edition 2005); translation into Spanish La interpretación musical published by Alianza Editorial SA, Madrid, in 2006; translation into Italian L'esecuzione musicale published by Rugginenti Editore, Milan, in 2008 Reviewed in Musicae Scientiae, Psychology of Music, Music and Letters, Music Teacher, etc.

Ø      Chopin: The Piano Concertos (Cambridge: Cambridge University Press, 1997). Recipient of the Stefan and Wanda Wilk Book Prize, 2003. Translation into Polish to be published by Narodowy Instytut Fryderyka Chopina, Warsaw. Reviewed in Times Literary Supplement, Musical Times, Polish Music Journal, etc.

Ø      The Practice of Performance: Studies in Musical Interpretation, ed. John Rink (Cambridge: Cambridge University Press, 1995; paperback reprint 2005; parallel eBooks edition 2009) Reviewed in Analisi, Diastema, Indiana Theory Review, Journal of the Royal Musical Association, La Cartellina, Musicae Scientiae, Music Analysis, Music Perception, Musurgia, Notes, Orpheotron, Times Literary Supplement, etc.

Ø      Chopin Studies 2, ed. John Rink and Jim Samson (Cambridge: Cambridge University Press, 1994; paperback reprint 2006). Reviewed in BBC Music Magazine, Classical Piano, Journal of the Royal Musical Association, Musical Times, Music Analysis, Times Literary Supplement, etc.

线上资源

Ø      Online Chopin Variorum Edition (OCVE), funded by the Andrew W. Mellon Foundation: http://www.ocve.org.uk (pilot phase 2004; phase 1 2010; phase 2 forthcoming 2014)

Ø      Chopin's First Editions Online (CFEO), funded by the Arts and Humanities Research Council: http://www.cfeo.org.uk (2007)

乐谱

Ø      Fryderyk Chopin, Piano Concerto in F minor Op. 21 (with newly composed second-piano part), The Complete Chopin: A New Critical Edition (London: Peters Edition, 2010)

Ø      Fryderyk Chopin, Piano Concerto in E minor Op. 11 (with newly composed second-piano part), The Complete Chopin: A New Critical Edition (London: Peters Edition, 2008)

书籍章节

Ø      ‘The (F)utility of Performance Analysis’, in Artistic Practice as Research in Music: Theory, Criticism, Practice, ed. Mine Doğantan-Dack (Aldershot: Ashgate, forthcoming 2013)

Ø      ‘Making the Music Work: Towards a “Dynamic Edition” of Chopin’, in La génétique musicale, ed. Jean-Louis Lebrave, Almuth Grésillon and Nicolas Donin (forthcoming 2012)

Ø      ‘In Respect of Performance: The View from Musicology’, in Ereignis und Exegese: Musikalische Interpretation, Interpretation der Musik. Festschrift für Hermann Danuser zum 65. Geburtstag, ed. Camilla Bork, Tobias Robert Klein, Burkhard Meischein, Andreas Meyer and Tobias Plebuch (Schliengen: Edition Argus, 2011), 433-45

Ø      John Rink, Neta Spiro and Nicolas Gold, 'Motive, Gesture and the Analysis of Performance', in New Perspectives on Music and Gesture, ed. Anthony Gritten and Elaine King (Aldershot: Ashgate, 2011), 267-92

Ø      'Psychology of Music', in An Introduction to Music Studies, ed. J. P. E. Paul Harper-Scott and Jim Samson (Cambridge: Cambridge University Press, 2009), 59-78

Ø      Neta Spiro, Nicolas Gold and John Rink, 'Plus ça change: Analyzing Performances of Chopin's Mazurka Op. 24 No. 2', in Proceedings of 10th International Conference on Music Perception and Cognition, ed. Ken'ichi Miyazaki et al. (Sapporo: ICMPC10, 2008), 418-27

Ø      Neta Spiro, Nicolas Gold and John Rink, 'In Search of Motive: Identification of Repeated Patterns in Performance and their Structural Context', in Proceedings of the Inaugural International Conference on Music Communication Science (ICoMCS), ed. Emery Schubert et al. (Sydney: ARC Research Network in Human Communication Science (HCSNet), 2007), 152-54

Ø      Neta Spiro, Nicolas Gold and John Rink, 'Performance Motives: Analysis and Comparison of Performance Timing Repetitions using Pattern Matching and Formal Concept Analysis', in Proceedings of the International Symposium on Performance Science 2007, ed. Aaron Williamon and Daniela Coimbra (Utrecht: European Association of Conservatoires, 2007), 175-80

Ø      'Chopin in Transition', in La note bleue: Mélanges offerts au Professeur Jean-Jacques Eigeldinger, ed. Jacqueline Waeber (Bern: Peter Lang, 2006), 45-71

Ø      'Work in progress: l'oeuvre infini(e) de Chopin', in Interpréter Chopin, ed. Jean-Jacques Eigeldinger (Paris: Cité de la Musique, 2006), 82-90

Ø      'Chopin and the Technique of Performance', in Chopin in Performance: History, Theory, Practice, ed. Artur Szklener (Warsaw: Narodowy Instytut Fryderyka Chopina, 2005), 225-38

Ø      'Les Concertos de Chopin et la notation de l'exécution', in Frédéric Chopin, interprétations, ed. Jean-Jacques Eigeldinger (Geneva: Droz, 2005), 69-88

Ø      'Analyzing Rhythmic Shape in Chopin's E major Etude', in Analytical Perspectives on the Music of Chopin, ed. Artur Szklener (Warsaw: Narodowy Instytut Fryderyka Chopina, 2004), 125-38

Ø      'Murray Perahia: A Musical Dialogue', in Muzyka wobec tradycji: idee – dzieło – recepcja, ed. Szymon Paczkowski (Warsaw: Instytut Muzykologii Uniwersytetu Warszawskiego, 2004), 641-51

Ø      'The State of Play in Performance Studies', in The Music Practitioner, ed. Jane Davidson (Aldershot: Ashgate, 2004), 37-51

Ø      'Chopin and Performance Studies', in Chopin and his Work in the Context of Culture, ed. Irena Poniatowska, 2 vols. (Cracow: Musica Iagellonica, 2003), Vol. 2, 11-26

Ø      'Zum Verhältnis von Notation und Aufführung in Chopins Konzerten', in Chopin 1849/1999: Aspekte der Rezeptions- und Interpretationsgeschichte, ed. Andreas Ball-staedt (Schliengen: Edition Argus, 2003), 19-34

Ø      'Chopin Copying Chopin', in Chopin's Work: His Inspirations and Creative Process in the Light of the Sources, ed. Artur Szklener (Warsaw: Narodowy Instytut Fryderyka Chopina, 2003), 67-81

Ø      'Analysis and (or?) Performance', in Musical Performance: A Guide to Understanding, ed. John Rink (Cambridge: Cambridge University Press, 2002), 35-58

Ø      'The Profession of Music', in The Cambridge History of Nineteenth-Century Music, ed. Jim Samson (Cambridge University Press, 2001), 55-86

Ø      'The Legacy of Improvisation in Chopin', in Muzyka w kontekscie kultury, ed. Małgorzata Janicka-Słysz, Teresa Malecka and Krzysztof Szwajgier (Cracow: Akademia Muzyczne, 2001), 79-89

Ø      'Rhythmic Process in Chopin's Prelude Op. 28 No. 5: "Intuitive Analysis" and Performance', in Analyse et création musicales, ed. Jean-Michel Bardez (Paris: Harmattan, 2001), 179-93

Ø      'Translating Musical Meaning: The Nineteenth-Century Performer as Narrator', in Rethinking Music, ed. Nicholas Cook and Mark Everist (Oxford: Oxford University Press, 1999), 217-38

Ø      'Opposition and Integration in the Piano Music', in The Cambridge Companion to Brahms, ed. Michael Musgrave (Cambridge: Cambridge University Press, 1999), 79-97 and 293-5

Ø      '"Structural Momentum" and Closure in Chopin's Nocturne Op. 9, No. 2', in Schenker Studies 2, ed. Carl Schachter and Hedi Siegel (Cambridge: Cambridge University Press, 1999), 109-26

Ø      'Playing in Time: Rhythm, Metre and Tempo in Brahms's Fantasien Op. 116', in The Practice of Performance: Studies in Musical Interpretation, ed. John Rink (Cambridge: Cambridge University Press, 1995), 254-82

Ø      'Authentic Chopin: History, Analysis and Intuition in Performance', in Chopin Studies 2, ed. John Rink and Jim Samson (Cambridge: Cambridge University Press, 1994), 214-44

Ø      'Tonal Architecture in the Early Music', in The Cambridge Companion to Chopin, ed. Jim Samson (Cambridge: Cambridge University Press, 1992), 78-97 and 305-8

Ø      'The Rhetoric of Improvisation: Beethoven's Fantasy Op. 77', Secondo Convegno Europeo di Analisi Musicale, ed. Rossana Dalmonte and Mario Baroni (Trento: Università degli Studi di Trento, 1992), 303-17

Ø      'Select Bibliography of Literature Related to Schenker by British Authors or in British Publications since 1980', in Schenker Studies, ed. Hedi Siegel (Cambridge: Cambridge University Press, 1990), 190-2

Ø      'The Barcarolle: Auskomponierung and Apotheosis', in Chopin Studies, ed. Jim Samson (Cambridge: Cambridge University Press, 1988), 195-219

期刊文章

Ø      Mirjam James, Karen Wise and John Rink, ‘Exploring Creativity in Musical Performance through Lesson Observation with Video-Recall Interviews’, Scientia Paedagogica Experimentalis (forthcoming 2012)

Ø      Neta Spiro, Nicolas Gold and John Rink, 'The Form of Performance: Analyzing Pattern Distribution in Select Recordings of Chopin's Mazurka Op. 24 No. 2', Musicae Scientiae, 14/2 (2010), 23-55

Ø      'Le analisi dei musicologi e le analisi degli esecutori. Paragoni possibili e forse utili', Rivista di analisi et teoria musicale 7/2 (2007), 7-29

Ø      'Chopin tot leven wekken', Pianowereld, 23 (June/July 2007), 20-2

Ø      'Análise e (ou?) performance', Cognição & artes musicais/Cognition & musical arts, 2/1 (2007), 25-43

Ø      'Liszt and the Boissiers: Notes on a Musical Education', The Liszt Society Journal (2006), 5-36

Ø      'The Final Score?', BBC Music Magazine (2004), 30-3

Ø      'In Respect of Performance: The View from Musicology', Psychology of Music, 31/3 (2003), 303-23

Ø      'Perahia's Musical Dialogue', The Musical Times, 142 (2001), 9-15

Ø      'The Line of Argument in Chopin's E minor Prelude', Early Music, 29 (2001), 434-44

Ø      'Chopin's Improvisatory Music: Style, Structure, Aesthetic', Ostinato rigore, 15 (2000), 7-17

Ø      'Sonata (19th century, after Beethoven)', 'Improvisation (19th century)' and 'Rhapsody', in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie and John Tyrrell (London: Macmillan, 2000)

Ø      Report on Study Session 21, 'Interpreting Performance: Chopin-Playing in Perspective', in Musicology and Sister Disciplines: Past, Present, Future. Proceedings of the 16th International Congress of the International Musicological Society, London, 1997, ed. David Greer (Oxford: Oxford University Press, 2000), 512-15

Ø      'Suonare nel tempo: ritmo, metro e movimento nelle Fantasien op. 116 di J. Brahms', Diastema 1 (9) (1999), 7-36

Ø      'Le jeu et le temps: rythme, mesure et tempo dans les Fantaisies op. 116 de Brahms', Ostinato rigore, 10 (1998), 17-54

Ø      'Conference Report: Joint Meetings of the American Musicological Society, Center for Black Music Research and the Society for Music Theory', Music Analysis, 15/1 (1996), 128-36

Ø      '"Structural Momentum" and Closure in Chopin's Op. 9, No. 2', Chopin Studies, 5 (1995), 82-104

Ø      'Ballady Chopina i dialektyka metod analitycznych: analiza z perspektywy historycznej', Rocznik Chopinowski, 21 (1995), 45-66

Ø      'Le processus narratif dans l'interprétation et l'analyse', Musurgia, 2/2 (1995), 28-32

Ø      'Chopin's Ballades and the Dialectic: Analysis in Historical Perspective', Music Analysis, 13/1 (1994), 99-115

Ø      'Schenker and Improvisation', Journal of Music Theory, 37/1 (1993), 1-54

Ø      'Un siècle et demi d'analyse des Ballades de Chopin: les étapes d'un cheminement dialectique', Analyse Musicale, 27 (1992), 65-75

Ø      'Review Article' on Wallace Berry, Musical Structure and Performance, in Music Analysis, 9/3 (1990), 319-39

Ø      'Chopin and Schenker: Improvisation and Musical Structure', Chopin Studies, 3 (1990), 219-31

Ø      'Chopin i Schenker: Improwizacja a Struktura', Rocznik Chopinowski, 19 (1990), 163-76

Ø      'Conference Report: Music and Rhetoric: Style and Communication in Western and Non-Western Musics (Royal Musical Association, 7-9 April 1989)', Music Analysis, 8/3 (1989), 359-64

学术评论

Ø      Review of Rémy Campos and Nicolas Donin, L'analyse musicale, une pratique et son histoire, in Music & Letters (forthcoming 2012)

Ø      Review of Anthony Gritten and Elaine King, eds., Music and Gesture, in The British Journal of Aesthetics, 47/2 (2007), 224-6

Ø      Review of George Barth, The Pianist as Orator, in Journal of the American Musicological Society, 49/1 (1996), 155-61

Ø      Review of Nicolas Meeùs, Heinrich Schenker: Une Introduction, in Music Analysis, 15/2 (1996), 367-72

Ø      Review of Jonathan Dunsby, Performing Music: Shared Concerns, in Music & Letters, 77/2 (1996), 253-7

Ø      Review of Jean-Jacques Eigeldinger, Frédéric Chopin: Esquisses pour une Méthode de Piano, in Music & Letters, 75/2 (1994), 472-6

Ø      Review of Mieczysław Tomaszewski, ed., Chopin: A Diary in Images, in Music & Letters, 74/1 (1993), 99-102

Ø      Review of George Bozarth, ed., Brahms Studies, in Music & Letters, 73/2 (1992), 301-7

Ø      Review of Leonard B. Meyer, Style and Music: Theory, History, and Ideology, in Music & Letters, 72/2 (1991), 296-300

Ø      Review of Heinrich Schenker, J. S. Bach's Chromatic Fantasy and Fugue: Critical Edition with Commentary, trans. Hedi Siegel, in Music Analysis, 7/2 (1988), 225-33

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