The Oxford History of Western Music is a magisterial survey of the traditions of Western music by one of the most prominent and provocative musicologists of our time. This text illuminates, through a representative sampling of masterworks, those themes, styles, and currents that give shape and direction to each musical age. Taking a critical perspective, this text sets the deta...
The Oxford History of Western Music is a magisterial survey of the traditions of Western music by one of the most prominent and provocative musicologists of our time. This text illuminates, through a representative sampling of masterworks, those themes, styles, and currents that give shape and direction to each musical age. Taking a critical perspective, this text sets the details of music, the chronological sweep of figures, works, and musical ideas, within the larger context of world affairs and cultural history. Written by an authoritative, opinionated, and controversial figure in musicology, The Oxford History of Western Music provides a critical aesthetic position with respect to individual works, a context in which each composition may be evaluated and remembered. Taruskin combines an emphasis on structure and form with a discussion of relevant theoretical concepts in each age, to illustrate how the music itself works, and how contemporaries heard and understood it. It also describes how the context of each stylistic period-key cultural, historical, social, economic, and scientific events-influenced and directed compositional choices.
原文摘录
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The ‘‘French’’ preference shown here for the lilting ‘‘trochaic’’ subdivision of the semibreve (implying that the four-lozenge groups would have been lilted that way even before the stems were added) seems to resonate both with earlier ‘‘modal’’ practice and with the later French convention of performing pairs of eighth-notes or sixteenth-notes with a similar, and now definitely unwritten, lilt (the so-called notes in´egales or ‘‘unequal notes’’). (查看原文)
... the beginning of ‘‘The Renaissance,’’ for music, is often—though, as we will see, arbitrarily—placed around the beginning of the fifteenth century, and major historiographical divisions like that can act as barriers, sealing off from one another figures and works that happen to fall on opposite sides of that fancied line, no matter how significant their similarities. Not only that, but (as already observed in a somewhat different context) an appearance of stylistic backwardness or anachronism—inevitable when sweeping categories like ‘‘Medieval’’ and ‘‘Renaissance’’ are too literally believed in—can easily blind us to the value of supreme artistic achievements such as Du Fay’s isorhythmic motets. They are not vestigial survivals or evidence of regressive tendencies, but a zenith. (查看原文)
The Oxford History of Western Music(共5册)，
这套丛书还有
《Music in the Late Twentieth Century》《Music in the Early Twentieth Century》《Music in the Nineteenth Century》《Music in the Seventeenth and Eighteenth Centuries》
。
0 有用 STEIN 2021-12-08 09:29:21
虽然受到某老先生先入为主的批判之辞的影响，但是仍然觉得Taruskin并没有做Big Composer + Big Works的模式，这恰恰是他批判的。真的写得很精彩，无论论述还是语言都很老练，而且作为这样一部“非传统”的史书，再讲很多事情居然比以往那些历史教材清楚很多，特别是formes fixes梳理得特别清晰。
0 有用 STEIN 2021-12-08 09:29:21
虽然受到某老先生先入为主的批判之辞的影响，但是仍然觉得Taruskin并没有做Big Composer + Big Works的模式，这恰恰是他批判的。真的写得很精彩，无论论述还是语言都很老练，而且作为这样一部“非传统”的史书，再讲很多事情居然比以往那些历史教材清楚很多，特别是formes fixes梳理得特别清晰。