1949年,法国作曲家梅西安(Olivier Messiaen,1908年—1992年)于达姆施塔特夏令营教授作曲课程时,公开了被公认为是整体序列音乐的开山之作——《时值与力度的模式》(Mode de valeurs et d’ intensités)[1]。这部作品给予了布列兹...1949年,法国作曲家梅西安(Olivier Messiaen,1908年—1992年)于达姆施塔特夏令营教授作曲课程时,公开了被公认为是整体序列音乐的开山之作——《时值与力度的模式》(Mode de valeurs et d’ intensités)[1]。这部作品给予了布列兹极大的启发,从而于1951年—1952年对整体序列主义作品进行了尝试。但是,仅仅将所有音乐参数序列化只是将其完全服从序列组织的自动化,并不足以创作出具有独特新形式的作品。在此情况下,激励着布列兹去创造出新类型的音高组织方式。展开更多
Across different eras and cultures,allusions have been one of the most subtle and at the same time effective artistic devices for conveying an author’s message through subtext.The Soviet era in Russian history was on...Across different eras and cultures,allusions have been one of the most subtle and at the same time effective artistic devices for conveying an author’s message through subtext.The Soviet era in Russian history was one of those socio-cultural contexts that gave birth to so many artifacts of this kind that it could easily be considered a classic example of the use of this technique in the modern times.The article analyzes various forms of allusion,including quotation as a type of contextual metaphor,in the works of the leading and at the same time most targeted Soviet composer Dmitri Shostakovich.Quotations from famous classical works in Shostakovich’s music,whether or not they are considered to have a predetermined meaning,are addressed along with references to classical,popular,or folk music,as well as messages conveyed through Jewish idiom,whatever it may be,which in itself seems truly unique to the Russian composer’s toolkit.展开更多
文摘1949年,法国作曲家梅西安(Olivier Messiaen,1908年—1992年)于达姆施塔特夏令营教授作曲课程时,公开了被公认为是整体序列音乐的开山之作——《时值与力度的模式》(Mode de valeurs et d’ intensités)[1]。这部作品给予了布列兹极大的启发,从而于1951年—1952年对整体序列主义作品进行了尝试。但是,仅仅将所有音乐参数序列化只是将其完全服从序列组织的自动化,并不足以创作出具有独特新形式的作品。在此情况下,激励着布列兹去创造出新类型的音高组织方式。
文摘Across different eras and cultures,allusions have been one of the most subtle and at the same time effective artistic devices for conveying an author’s message through subtext.The Soviet era in Russian history was one of those socio-cultural contexts that gave birth to so many artifacts of this kind that it could easily be considered a classic example of the use of this technique in the modern times.The article analyzes various forms of allusion,including quotation as a type of contextual metaphor,in the works of the leading and at the same time most targeted Soviet composer Dmitri Shostakovich.Quotations from famous classical works in Shostakovich’s music,whether or not they are considered to have a predetermined meaning,are addressed along with references to classical,popular,or folk music,as well as messages conveyed through Jewish idiom,whatever it may be,which in itself seems truly unique to the Russian composer’s toolkit.
