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1953年7月底,在Royaumont举行了一次以“城市中的音乐家”为题的研讨会。无疑,这里的音乐家是指当代西方文化概念中的作曲家。研讨会上提出:一个不受任何社会义务约束的音乐家是社会所不容的。这一一反往昔的提法指出创作者需要交流;它的独到之处也在于提出了是否在社会与创作者之间真有着某些联系。如果几个世纪前人们就想到这些密切而不可替代的关系的话,那么今天有关其性质也早就有了定论。我被邀参加了研讨会,谈了一些看法。一个作曲家首先是音乐家生存社会的一分子,这一社会是通过每一分子与其它社会成员保持联系的。只把作曲家视为音乐家的选择或许极为欠妥,应该说作曲家属于音乐家。我还讲了在1931—1949年间,我在非洲若干社会生活时,那里的音乐与音乐家们的情况。
In late July 1953, a seminar entitled “Musicians in the City” was held in Royaumont. Undoubtedly, the musicians here refer to composers in the concept of contemporary Western culture. The seminar proposed: A musician who is not bound by any social obligation is not allowed by society. This anti-past reference points to the need for creators to communicate; it is also unique in asking whether there is any real connection between society and creators. If people came to these close but irreplaceable relationships centuries ago, then the nature of their existence today has long been conclusive. I was invited to attend the seminar and talked some opinions. A composer is first and foremost a part of the musician’s survival society, through which every member of the community maintains contact with other members of society. The choice of the composer as a musician may be extremely poor, and the composer belongs to the musician. I also talked about the situation of music and musicians there during the period of 1931-1949 when I was in some social life in Africa.