音乐理解的途径:论“立意”及其实现(下)——为庆贺钱仁康教授九十华诞而作

Towards Music Understanding:On "Conception" and Its Realization in Music Composition——In Tribute to Professor Qian Renkang's 90 Birthday

本文试图通过提出一种可行的作品分析-研究方法和音乐理解-鉴赏途径,呼应钱仁康先生在作品分析-研究学科方面所做出的学术努力,并以此向钱先生表达九十华诞生日祝贺。作者首先对“音乐理解”的概念进行了多方面的界定,随后阐明以分析“立意”来解读作品这种理解途径的理论来源,并分析和解读了巴赫、贝多芬、舒伯特三人的纯音乐作品予以验证。最后,作者对该理解途径中蕴含的有关问题和几点优势做了进一步的说明。[本文(上)发表于《黄钟》2004年第二期]

The article is a special tribute to Prof. Qian Renkang of Shanghai Conservatory of Music, the eminent Chinese music scholar, who commands quasi encyclopedia knowledge of music and will celebrate his 90th birthday in April this year. The author tries to formulate a theory of music understanding based on the i dea of ' conception' and its realization in individual compositions. He draws from his own experience as a listener and as a critic/analyst of music, and from western scholars, such as Zofia Lissa, Joseph Kerman and Carl Dahlhaus. The individuality of a piece of music comes from unique ' conception' of its expressive intention, its music material and structural design, and this 'conception' is closely related to artistic problems the composer wants to resolve. Applied this theory to analyzing three compositions, respectively by Bach, Beethoven, and Schubert, the author argued that in order to get better music understanding, the listener/critic/analyst should pay more attention to conception that emerges when a composer is trying to solve his problems, rather than to psychological process when a composer is composing.