作者:
[美]查尔斯·罗森 出版社:浙江大学出版社 出品方:启真馆 副标题: 三次非正式音乐讲座 原作名: The Frontiers of Meaning Three Informal Lectures on Music 译者:
罗逍然 出版年: 2018-12 页数: 181 定价: 39.00元 装帧: 平装 丛书:罗森作品集 ISBN: 9787308182362
p55
Tieck's view of Beethoven must have reflected a fairly common reaction to the music, and this popular view had almost certainly inspired the most cogent part of E.T.A. Hoffmann's essays, which had a profound influence on the foundation of music analysis: his description of the way not only a single movement but often an entire symphony or trio of Beethoven's seems to spring from a single theme or motif. This is a dramatic response to the contemporary point of view expressed by Tieck, and it finally became an essential element in the estimate of Beethoven that has continued to the present day: the conception of unity derived from a study of his works is at the origin of the development of musical style through the works of Schoenberg and Boulez. Since Hoffmann, the belief that great ... (查看原文)
2 有用 bowie 2021-01-25 14:19:54
不知道是翻译的问题还是我的理解能力比较差,总觉得读起来很累,很绕。(读杨燕迪老师翻译的古典风格就不会累)
0 有用 Aspartame 2019-07-02 23:51:44
……一些特別有趣的地方
1 有用 锅阿鱼 2022-04-14 00:11:00
作为音乐学院非作曲专业学生,看到乐句分析脑子都炸了。“对于旋律节奏一个个符号组成的音乐,去寻找它的意义,还要给出具体的意义,那就是荒谬的最后一步了。”不得不说,罗森从头到尾批判的就是乐评人。
0 有用 ichbinluz 2021-12-28 21:29:27
非常好。启发超出音乐本身,打通一些文艺知识。音乐的本质是拒绝意义的,但可以承载、体现意义。“音乐不轻易顺从比它更大的语境——社会、问话、作曲家生平……”——译序中对比的话题理论与罗森观点的不同。(话题理论:将语言之外的存在引入语言的符号体系。)这里进入浪漫主义的遗产,创新作品自成的价值体系,不再需要外部标准了。
13 有用 减七 2019-01-16 21:22:00
酣畅淋漓 罗森清晰地指出了人们在参与古典音乐时的普遍困惑 并进行了富有启发式的思辨 p.s.书中提到的“在18世纪末,所有其他艺术形式都十分艳羡音乐,这正是因为音乐拒绝自己被任何特定、严格的意义系统所控制”又让我想起了《艺术的起源》里的那句“诗歌主宰着整个现象世界;反之,音乐自家可以说:‘我的国度不在这个世界上。’” ^ ^