生命的律动——《边城》的音乐性分析

沈从文虽自己不创作音乐,但音乐和他却有着十分深厚的渊源。沈从文的小说作品受到了音乐艺术的影响,并彼此构成了互文性的关系。代表作之一的《边城》风格形成与音乐要素相关。从表层看,这是音乐元素在叙事过程中的加入和叙述技法的音乐化。从深层看,沈从文抓住了文学与音乐的共通之处,即借创作的符号来表达对永恒抽象之美的追溯与探索。这种表达方式本质是抒情的。《边城》不仅是“诗化小说”,更是“音乐小说”,体现着作者形而上的对宇宙人生的思考。

Discussion on the Coexistence and Fusion between Music and Literature

In the development process of human history, music and literature have their own unique characteristics, and also are closely related to each other. Both own a very long history and maintain an interdependent relationship with each other. The dances accompanied by music in China＇ s primitive tribes and the lyric poetry in the ancient Greek times can be said to be the coexistence form of music and literature. Although music and literature have undergone a whole development process from a unified development to an independent development, there are links always maintained between the two art forms. In this paper, the coexistence and fusion between music and literature are specifically introduced from different aspects.

The Tradition of the Joint Voice Singing in the Context of the Orient Culture （As an example of Margilan Singing School）

The article deals with musical heritage of some Orient cultures, joint singing as one of the main part of music art from ancient time to nowadays. The measure reflecting live process of national musical art is a performing practice. Makom is the most example of Uzbek classical musical heritage. The art of singing plays considerable role in culture of Uzbek national music. On the basis of classical singing the following singing directions as ＂Folk singing＂ （yallachilik）, ＂Classical singing＂ （mumtoz yallachilik）, ＂Grand Song＂ （katta ashulachilik） and ＂Art of Makom＂ singing forms were formulated and developed. Greatest representatives of Margilan School of singing.

The Grammars of Mystical Experience in Christian Theological Dialogue

The philosophical horizon of this essay is theoretically comparative and hermeneutically dialogic. Its main philosophical and theological tonality expresses, in first person and through three discursive moments, the differentiated fusion of horizons between phenomenological and grammatical description and understanding of experience. After a philosophical overture-outlining the ethos of the dialogic problematic and situating it within the contemporary diverse and dialogic dynamic of phenomenology-I will expose the consistent, possible modalities of convergence between Husserlian phenomenology and Wittgensteinian grammar of the mystical shapes of experience. The tense, responsorial dialogue among Husserl, Heidegger, Levinas, and Wittgenstein＇s styles of thinking, far from being anymore limited to the debates between the analytical and phenomenological, will be considered from the crossed categorial spaces of Austrian philosophy and German culture in general. In a second section, I will show how the styles of phenomenology today are advancing into a cautious micro-logical grammar of comparative inquiry. This thematization will first consider some precise semantic clarifications： Experience, the mystical, extasis, evidence, and truth; in a second section, the theoretical levels of grammar and phenomenology of mystical experience are heralded in the context of the Christian theological dialogue, where I emphasize the rebirth of French theological thinking and dialogic transcendence, beginning with Maritain and de Chardin to Marcel, de Lubac, Levinas, and Marion. Finally, I consider the aesthetic expressions of mystical experience, both from the visual and musical dimensions. I will conclude this talk by highlighting theological perspectives drawn from my research in musico-philosophical problematics, through an awakening to the resonance of Being and the Divine in sonic and musical life. Through a theology of the musical λογοζ, the grammar of mystical experience reveals the sacramentality of music and the mystery of silence

Who is the ＂Rightful＂ Inheritor of Ancient Culture？ Ancient Greece, Modern Greece, and Richard Wagner

The purpose of this paper is to analyze the reception of Wagner＇s approaches to Greek antiquity by Greek musicologists and composers which took place at the first half of the 20th century. Wagner＇s such readings were parts of wider narrations of archeology and how Greeks perceived their past.This research is largely based on primary sources of that time; its arguments construct two levels of critique： （1） Admiration （the ＇proper＇ aesthetic examples are German models, as exemplified in Wagner＇s work）; and （2） ＂Hellenism＂ as a means to distancing from Wagner （The past of ancient Greece is still believed to be better understood by the Greeks）. The principal conclusions are： （1） Wagner＇s views were admired because Wagner＇s example （ancient culture） should also be an example for Greek composers; and （2） Wagner＇s views were judged on the grounds of： Ideology： the expression of the ＂soul＂; the theory of ＂historic continuity＂; the balance between music, poetry, and dance; Wagner gave superiority to music, modem Greeks （should） give a predominant role to language as a means of expression in an ancient drama, or achieve a balance among the three arts of music, poetry, and dance.

On the Inheritance and Development of Folk Music

Folk music in the past was inherited through family tradition, apprenticeship, social folk life, etc., mainly by the way of oral teaching method. Since the founding of New China, the country in addition to investigate and research the minority musicians, takes into consideration the special education and minority musical heritage and the establishment of different forms and characteristics of art institutions. In the inheritance and development of folk music, the advantages of school education cannot be ignored. We should pay attention to the inheritance and development of folk music in college music reform, so that music education has become a platform to promote the national music culture.

The Many Sounds of Civilization

British-American historian Bernard Lewis famously condemned Arab and Islamic civilization for not having a polyphonic sense of music,even accusing them of accepting totalitarian ideologies and regimes because of their taste for"monophonic"music.That is,having one single singer with all the music following the ups and downs of his or her voice.Polyphonic music,by contrast,is when a piece of music has two or more independent melodies in it.As for the related notion of counterpoint,this is from many voices present in the chorus of a classical Greek drama and a reference to the coordination evident in choir singing.