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半个世纪以来,苏联音乐界使用着整体分析的概念,并熟知这种分析及其可能的各种样式,细致的程度,以及将其用于不同风格、体裁和规模的作品的情况。整体分析作为音乐学工作的独立的样式的分离本身,必然或早或迟地发生的。因为,音乐作品—许多世纪的欧洲专业音乐的中心现象,“处在既是作曲家活动,又是表演家和听众活动的焦点上”。与此同时,数十年前,Б·阿萨菲耶夫提出了音调分析的概念:他给自己对格林卡的《切尔诺摩尔进行曲》的分析提出的副标题是“音调分析的尝试”,《卡玛林斯卡亚》和《西班牙序曲》的分析是“揭示音调内容的尝试”,而关于柴科夫斯基的《叶甫根尼·奥涅金》的论著是“风格和戏剧构成的音调分析”。
For half a century the Soviet music community has used the concept of holistic analysis and is familiar with the analysis and its possible variety of styles, levels of meticulousness, and its use in works of different styles, genres and sizes. The overall analysis of the separation itself as an independent style of musicology work necessarily takes place sooner or later. Because music works, the central phenomenon of European professional music for centuries, “is in both the composer’s activity and the focus of the performers and listeners.” In the meantime, several decades ago, Б Assafiev proposed the concept of pitch analysis: his subtitle of his analysis of Glinka’s Cheromone march was “An Attempted Tone Analysis” An analysis of “Camarins Skua” and “Spanish Overture” is “an attempt to reveal the content of the tone,” while a treatise on Tchaikovsky’s “Evgeni Onegin” is “the tone of style and drama analysis”.