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很难设想一位作曲家完全把自己的力量集中到单一体裁的严格的框框里,即使他对这种体载表现出特别的爱好也好。通常与基本的主导的体载并存的是可供选择的、发展的体载。这些可供选择的体载可能不多,但它们并不是完全孤立地存在着——它们之间出现了相互交换的情况,它们之间的一种自然的关系稳定下来了,虽然因为所说的是关于这种或那种作曲风格的现象问题。十分明显的例子是马勒的交响曲同他的声乐——交响套曲的关系,其中也包括由一种体裁转变成另一种。如交响康塔塔《大地之歌》中所出现的情况。再比如说舞台构思同纯器乐构思的关系,歌剧同交响乐的关系等。在另一些情况下甚至可以说有两种体裁并行的发展,肖斯塔科维奇创作中文响音乐同室内音乐(四重奏)的相互关系可以作为这种例子。
It is hard to imagine that a composer has completely concentrated her power in the strict framework of a single genre, even though he shows a special hobby for such a body. Often coexistence with the basic dominant body is an alternative, developing body-set. These alternative bodies may not be many, but they do not exist in isolation - there is a mutual exchange between them, a natural relationship between them has stabilized, although because of the It is about the phenomenon of one or the other kind of compositional style. A very obvious example is the relationship between Mahler’s symphony and his vocal-symphony, which also includes the transition from one genre to another. Such as Symphony Cantata “song of the earth” in the situation. Another example is the concept of the stage with the idea of pure musical instrument, opera and symphony relationship. In other cases, it can even be argued that there are two genre developments in parallel, and Shostakovich’s interrelationship between Chinese and chamber music (quartet) can be used as an example.