瑞格与巴赫:历史风格的现代主义
摘要
马克斯·瑞格直接继承了巴赫的音乐风格,并师法勃拉姆斯.他的音乐表现出古典主义边缘的前古典主义,并在众多的现代主义潮流中开辟了一条前进的道路,成为历史风格的现代主义的突出代表.
出处
《艺术探索》
2004年第5期12-22,共11页
Arts Exploration
参考文献43
-
1[1]Accounts of neoclassicism can be fount in Scott Messing, Neoclassicism in Music: From the Genesis of the Concept through the Schoenberg Stravinsky Polemic (Ann Arbor: UMI Research Press, 1988);Stephen Hinton, The Idea of Gebrauchsmusik:A Study of musical Aesthetics in the Weimar Republic(1919-1933)with Particular Reference to the Works of Paul Hindemith (New York: Garland, 1989); Richard Taruskin, "Back to Whom? Neoclassicism as Ideology" (a review essay on the foregoing), this journal 16(1993), 286-302; and 'Historical Reflection and Reference in Twentieth-Century Music: Neoclassicism and Beyond, "a special segment of Journal of Musicology 9(1991), 411-97, with articles by J.Peter Burkholder, Joseph N.Straus,Marianna Kielian-Gilbert, and Scott Messing.
-
2[2]Schoenberg 'Nacht," from Pierrot Lunaire(1912) , and Passacaglia for Orchestra (fragment from 1926); Berg, Altenberg Lieder, op.l (1908); Reger,final of First Organ Suite, op.16(1895); Zemlinsky, final of Symphony in bB (1897).
-
3[3]Cited in Johannes Lorenzen, Max Reger als Bearbeiter Bachs (Wiesbaden:Breitkopf and Hartel,1982), p.86 (trans. mine). Unless otherwise noted, all translations from the German are my own.
-
4[4]Rudolf Stephan, 'Max Reger Kunst im 20. Jahrhundert: Uber ihre Herkunft und Wirkung," in Muskier der moderne: Portrats und Skizzen, ed. Albrecht Rethmiuller (Laaber: Laaber, 1996), p.37. Stephan's are among the most thoughtfil. Writing on Bach receotion among German composers around 1900.see also his "Johann Sebast ian Bach und die Anfa nge der Neuen Musik," in Vom musikalischen Denken: Gesammelte Vortrage, ed. Rainer Damm and Andreas Traub(Mainz: Schott, 1985),pp.18-24; and 'Schoenberg and Bach," in Schoenherg and His World, ed. Walter Frisch(Princeton: Princeton University Press, 1999), pp. 126-40
-
5[5]For a summary of this phenomenon, see Michael Heinemann and Hans-Joachim Hinrichsen, 'Der 'deutsche' Bach," in Bach und die Nachwelt,ed. Heinemann and Hinrichsen, vol. Ⅱ (Laader: Laader, 1999), pp.I1-28. See also the still valuable study by Friedrich Blume, Two Centuries ofBach: An Account of Changing Taste (New York: Da Capo, 1978).
-
6[6]'Satzungen der Neuen Bachgesellschaft," in Arnold Schering, Die Neue Bachgesellschafi. 1900-1910 (Leipzig: Breitkopf and Hartel, 1911 ), p.2 1.
-
7[7]See Schering, Die Neue Bachg,esellschaft. for details on all early activities and publications of the NBG.l am gtateful to Steven Crist for alerting me to this pamphlet and to Christoph Wolff for securing a copy from the Bach-Archiv in Leipzig.
-
8[8]Willibald Nagel, 'Johann Sebastian Bach und die Deutsche Musik der Gegenwart, 'Die Musik 1/1 ( 1901 ), 207. Nagel's article and other aspects of Bach reception in the years before World War Ⅰ are treated in Wolfgang Rathert, 'Kult und Kritik: Aspekte der Bach-rezeption vor dem Ersten Weltkrieg", in Bach und die Nachwelt, vol.Ⅲ (Laader: Laader, 2000), pp.23-61.
-
9[9]'Was ist mir Johann Sebastian Bach und was bedeutet er fur unsere Zeit?"Die Musik 5/I (1905), 3-78. For further discussion of this survey, see Walter Frisch, 'Bach, Brahms, and the Emergence of Musical Modernism,' in Bach Perspectives 3, ed. Michael Marissen (Lincoln: University of Nebraska Press,1998), pp. 126-29.
-
10[10]Albert Schweitzer, ,J S. Bach, trans. [from the German edn.] Ernest Newman (Boston: Humphries, 1911 ), vol. Ⅱ, p.468.
-
1金啸峰.平面广告设计的历史风格与演变[J].现代装饰（理论）,2013,0(9):71-71.
-
2庞桂南.莫扎特弦乐曲历史风格的诠释[J].音乐探索,1999(3):64-66. 被引量：1
-
3水滴世界[J].海峡儿童（读写）（7-9年级）,2012(5).
-
4小水滴大世界[J].学习之友,2012(6).
-
5查尔斯.罗森,赵景伦.弗朗茨·李斯特的超强力量——评乔纳森·克瑞格著《李斯特作为改编者》[J].钢琴艺术,2014(11):46-51. 被引量：1
-
6谷涛.试论音乐表演的美学原则[J].黄河之声,2010,0(12):36-37. 被引量：5
-
7徐婷婷.“无”中生“有”的摄影[J].中国摄影,2008,0(6):62-71.
-
8王鸿俊.声乐表演的美学追求[J].艺术研究（哈尔滨师范大学艺术学报）,2005(2):23-24. 被引量：3
-
9温秀红.河曲民歌对高校声乐教学内容补充的探究[J].黄河之声,2016(11):22-23. 被引量：2
-
10王振东.从“风格场”角度谈音乐历史风格的多层性结构意义[J].音乐大观,2014,0(6):97-97.
