寿山石雕花鸟题材作品的布局

寿山石雕历史悠久、题材丰富,囊括了仙佛人物、动物花鸟、果蔬虫鱼等题材,在技艺方面则融合了玉雕、竹刻、绘画等门类的技艺精髓。笔者从事寿山石雕多年,尤其钟爱花卉果蔬、鸟虫瑞兽等题材的刻画,故而欲在本文中对寿山石雕中花鸟题材的布局进行探讨与分析。

惊世骇目的柏辽兹——《安魂曲》

1836年，柏辽兹接受他在七月王朝政府担任艺术部长的世交朋友加斯帕林(Adriende Gasparin)的委托，写一部安魂曲，定于1837年7月28日在巴黎伤残军人院演出，以纪念1830年七月革命中牺牲的英雄。在1836年签发的委任状中，柏辽兹可以得到4000法郎的报酬，一切演出费用都由政府负担。柏辽兹多年以来一直想写一部规模空前宏大的声乐-器乐作品，借以施展自己在音乐创作上的雄心壮志；现在他要在这部安魂曲中实现这一抱负，因此马上就动笔创作。按照他的设想，这部作品需用500人参加演出，但加斯帕林只答应动用430人。柏辽兹在1837年6月29日就写好了总谱，留下一个月的时间抄写分谱和进行排练。但当他指挥了三次分段排练后，突然得到通知，说因政治上的原因，决定取消演出。

The Processualities of Literature

The objective of this paper is to demonstrate that the processual aspect of literary works of art deserves much more attention than it normally receives by readers, critics, and theorists. The most important reason for this is seen in the fact that texts since the advent of print culture have been disseminated and passed on in written form and that in the medium of writing the processual character of language is only insufficiently taken care of by a cultural convention of arranging and approaching the presented signs in an particular sequence. Whereas in an oral culture the dynamic processuality of a speech or recitation was directly experienced by the listeners, the spatial arrangement of signs in writing enables and even entices readers and critics to read this or that part of a written text in a sequence of their own making. What remains out of focus is that in doing so they miss the particular semantic profile and aesthetic character of the work as created by the author--a procedure particularly hurtful in the case of literary works of art. There is hope, however, that this will somewhat change by our moving towards a performance culture

对陈思《对歌》中民族音乐元素及创作技法的研究

本文通过对作曲家陈思的作品《对歌》中结构布局、主题音调的使用等方面的分析,阐述该作品在民族音乐元素的使用及与现代作曲技法的结合等方面的有益尝试,为初学作曲者提供了一个很好的范例。