由“拿来主义”看罗奇伯格《第二交响曲》

A study of Symphony No.2 of George Rochberg in View of "Referencism"

罗奇伯格的《第二交响曲》用十二音序列技法写成,但在音乐的呈现方式上也融合了许多传统的手法。文章借助"拿来主义"的文化视角及其哲学启示,从创作观念的雏形———"辩证"的初学态度、写作技法的运用———"扬弃"的客观实践,以及语言风格的定位———"新"与"旧"的结合等三个方面,对罗奇伯格如何采用欧洲十二音技术并结合自己的创作哲学所写作的《第二交响曲》进行详细观察,由此可见,罗奇伯格的创作,在美国音乐吸收外来技法的过程中,展现出一个本土作曲家的新思路,为50年代美国音乐的发展做出了积极的贡献。

George Rochberg＇ s Symphony No. 2 is one of his important works in 1950s. Though the work is composed in twelve-tone technique, its music formality incorporates various traditional techniques. In view of referencism and its philosophical inspiration, this article will observe how he combined twelve-tone technique and his composition philosophy in Symphony No. 2 and make a judgment what the status and the influence of this work are in American music of 1950s.