音声缭绕无言词——论有解说的音乐与独立音乐

有解说的音乐①历来常被误解为与独立音乐观念相对立,根据音乐以外的文学、诗歌、绘画、戏剧题材作曲。文章从美学哲学观念和文化科学的角度论述西方艺术音乐的器乐曲近几百年的历史,把有解说的音乐与独立音乐处理为19世纪音乐结构史的一章。

从极繁主义到集合动机——从塔鲁斯金《牛津西方音乐史》对勋伯格音乐创作思维演变的相关论述谈起

美国音乐学家理查德·塔鲁斯金(Richard Taruskin)于2005年出版了共六卷本的《牛津西方音乐史》(The Oxford History of Western Music,2010年再版时改为五卷)。他在阐述勋伯格从调性到无调性的这一转变时,广泛吸纳了近些年的研究成果,并在此基础上形成了一套自己的论述模式,运用到了"极繁主义"(Maximalism)、"动机饱和"(motivic saturation)、"音乐空间"(Musical Space)、"世界观音乐"(Weltanschauungsmusik)等概念。文章试图通过梳理塔鲁斯金书中的相关论述,构建出勋伯格从调性到无调性的创作思维演进历程,并认为塔鲁斯金在吸收西方学者前沿成果的基础之上,对这一时期复杂多元的音乐现象进行了独到把握,也为之后学者的研究打开了视野。

21世纪音乐教育观念的三个转向

世界音乐课程进入大学,是音乐教育世界性变化的表征。它对全球音乐教育改革在内容与观念、方法方面的影响是历史性的。本文通过建立世界音乐课程观念的讨论,涉及了音乐教育三个观念的转向:一是从以欧洲音乐为基础的世界观转向全球多元文化音乐的世界观;二是从审美的主体中心模式转向文化理解的交往主体模式;三是音乐教育的现代知识型转向音乐教育的后现代知识型。

从音乐文化“汇流”看周文中先生的音乐世界观

当代作曲家在音乐创作与理论实践中体现出的观念十分多样,但能称得上“音乐世界观”的并不多见。笔者在参与周文中先生音乐文集翻译的过程中,深刻感受到先生开阔而深沉的音乐世界观,与当下过于强调本国话语权的主张形成极大反差。细观想之,其总体特性呈现为以下几点:1.艺术使命感;2.批判继承性;3.多元互补性;4.动态发展观;5.独更自主性。周先生最执著的艺术主张是期盼一个融汇东西方音乐文化的新主流——世界音乐,但西方音乐学家伦纳德.迈尔认为,在可以预见的未来很难再出现一种主导性的音乐潮流,整个音乐世界将长期处于多元的波动起伏的稳定状态。那么,周先生的音乐世界观是否过于理想主义或不切实际?还是有着更为长远的关切与愿景?

Music in Prehistoric Armenia

Within the syncretic world view of prehistoric people, there was an inseparable link between word, song, and dance Hence it is not easy for the modern researcher to outline the border between these spheres. Using interdisciplinary methods, present paper touches the case of Armenian monodic music. Through analysis of song types （concerning labour, funeral, wedding, belief, worship, magic, mythology, epic, and dance）, music representatives, music performance places, and musical instruments, an attempt is made to consider the phenomenon within certain temporal borders. It turns out that the folk and folk-professional realistic music is simple and static in its essence and includes the invariant component of local culture, going back to the period of formation of early farming communities. Meanwhile with emerging social complexity since the Bronze Age, new and various forms of musical performance come to existence.

Musical Traditions of Tengrianism

This paper examines the musical tradition, widespread in the giant habitat of the northern hemisphere--from theUrals in the east to the Pacific and even capturing the regions of North America. The author considers music as areflection of worldview and religion. For this purpose the author uses a method of comparison of a mythological picture of the world and properties of musical language. An important element linking the two areas is vertical. In mythology, this is turning the world on several floors in which the world of people occupies the middle one. At the level of music--it is the vertical of overtone sound row. The initial timbre ideal of this tradition are th esounds of throat singing which are associated with the vertical of the universe and consciousness used as an important formative structure of the World Model. In the article the author considers a materialization of musical consciousness in musical instruments. For this purpose, eight instruments under different names are selected andpresented in musical cultures of people. This allows the author to create the card of geographical distribution of tengri consciousness.

声音宇宙观:民族音乐学研究中的转换与“内观”

民族音乐学的研究,强调以音乐为基础及扩展整体文化层面的观念转换,即研究者试图发现并基于理解而呈现的一种声音宇宙观(同“声音世界观”)。“声音的观念”是声音宇宙观的核心成分与重要内容。民族音乐学以研究音乐文化为己任,当把音乐作为一种文化时,“宇宙观”就是该文化的最深层内核与元概念。民族音乐学研究在对声音宇宙观的感受、发现、呈现与表达的同时,也展现其学科意义,研究者在此过程中也实现对自我音乐世界观的进一步理解。