In three lucid and entertaining essays, Charles Rosen explores the true meaning of music and how this meaning changes from performer to performer, as well as audience to audience.
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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)
I like Rosen's statement that music has its existence on the borderline between meaning and nonsense, or Lamb's quote "listening to music is like reading a book that is all punctuation." Instrument mu...I like Rosen's statement that music has its existence on the borderline between meaning and nonsense, or Lamb's quote "listening to music is like reading a book that is all punctuation." Instrument music has patterns, or modulations, but beyond that it's mostly free association or interpretation imposed by the audience or who writes about it. (展开)
I like Rosen's statement that music has its existence on the borderline between meaning and nonsense, or Lamb's quote "listening to music is like reading a book that is all punctuation." Instrument mu...I like Rosen's statement that music has its existence on the borderline between meaning and nonsense, or Lamb's quote "listening to music is like reading a book that is all punctuation." Instrument music has patterns, or modulations, but beyond that it's mostly free association or interpretation imposed by the audience or who writes about it. (展开)
查尔斯·罗森 作者
伯樵·阿苏勒
浙江大学出版社2018版
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浙江大学出版社2018版
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浙江大学出版社2018版
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浙江大学出版社2018版
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浙江大学出版社2018版
2 有用 烛光前 2013-12-03 21:18:01
反思音乐学的意义，主要是提出问题。
1 有用 headradio 2019-05-11 08:46:54
I like Rosen's statement that music has its existence on the borderline between meaning and nonsense, or Lamb's quote "listening to music is like reading a book that is all punctuation." Instrument mu... I like Rosen's statement that music has its existence on the borderline between meaning and nonsense, or Lamb's quote "listening to music is like reading a book that is all punctuation." Instrument music has patterns, or modulations, but beyond that it's mostly free association or interpretation imposed by the audience or who writes about it. (展开)
1 有用 headradio 2019-05-11 08:46:54
I like Rosen's statement that music has its existence on the borderline between meaning and nonsense, or Lamb's quote "listening to music is like reading a book that is all punctuation." Instrument mu... I like Rosen's statement that music has its existence on the borderline between meaning and nonsense, or Lamb's quote "listening to music is like reading a book that is all punctuation." Instrument music has patterns, or modulations, but beyond that it's mostly free association or interpretation imposed by the audience or who writes about it. (展开)
2 有用 烛光前 2013-12-03 21:18:01
反思音乐学的意义，主要是提出问题。