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在人们的传统认知中,是音乐就要有音响,无音响也无所谓音乐。而在20世纪后现代主义音乐家的观念里,音乐和音响是两种既可以合一也可以分开的因素,甚至两者可以毫不相干。所谓的音响并不一定与音乐作品画等号,无声也可以做成音乐作品。这种特殊的音乐做法初闻让人惊异,但却是具有深层意义的。20世纪现代主义的作曲家在乎的不是要表现什么,而是刻意于如何表现。如果我们从当今艺术发展的多元化角度去理解传统与现代、东方与西方、高雅与通俗之间的共生并存、多元发展的关系,就会理解这种做法的用意,以形成宽容的心态,接受各种音乐文化生态的发展。
In people’s traditional cognition, it is necessary to have music in music, no sound and no music. In the notion of postmodern musicians of the twentieth century, music and sound were two things that could both be combined and separated, and even the two were irrelevant. The so-called sound does not necessarily equate with the musical composition, silent can also be made into musical works. The startling story of this particular musical approach is amazing but profound. The twentieth-century modernist composers did not care about what they were to express, but how they deliberately behaved. If we understand the symbiotic coexistence and pluralistic development between the traditional and the modern, the East and the West, the elegance and the popular, we will understand the intention of this approach and form a tolerant attitude to accept Various music culture and ecology development.