The article explores the pivotal moments,significant encounters,and lasting influences in the life of Austrian modernist composer Arnold Schoenberg,who spent his final 17 years in Los Angeles after fleeing Hitler’s E...The article explores the pivotal moments,significant encounters,and lasting influences in the life of Austrian modernist composer Arnold Schoenberg,who spent his final 17 years in Los Angeles after fleeing Hitler’s Europe with his family in 1933.As the United States’film capital and a city featured by the technological advancements of sound in cinema at that period,Los Angeles attracted numerous musicians,includingémigrés like Schoenberg.However,it also set limits on their professional aspirations.The article delves into Schoenberg’s legacy in the city and the efforts to preserve his memory within this cultural landscape.Through uncovering little-known,forgotten,or newly discovered facts about Schoenberg’s life,it reconstructs the vibrant cultural scene of early 20th-century Vienna and,more importantly,Los Angeles during the 1930s.The article also highlights the pedagogical aspect of Schoenberg’s activities,offering a holistic view of his multifaceted personality as a composer,artist,and teacher.展开更多
研究勋伯格的学者几乎都把他的创作划分为"调性时期"、"无调性时期"和"十二音时期";也有将1933年后的作品另列为"美国时期"的。其实,勋伯格本人将无调性时期和十二音时期看作是同一时期,就风...研究勋伯格的学者几乎都把他的创作划分为"调性时期"、"无调性时期"和"十二音时期";也有将1933年后的作品另列为"美国时期"的。其实,勋伯格本人将无调性时期和十二音时期看作是同一时期,就风格而论,两者并无区别,十二音技法只是保证无调性风格的一种手段,是对同一风格的逐步完善的过程而已。笔者试图通过勋伯格的《风格与观念》(Style and Idea)中的有关论述,来证明他的这一观点。展开更多
文摘The article explores the pivotal moments,significant encounters,and lasting influences in the life of Austrian modernist composer Arnold Schoenberg,who spent his final 17 years in Los Angeles after fleeing Hitler’s Europe with his family in 1933.As the United States’film capital and a city featured by the technological advancements of sound in cinema at that period,Los Angeles attracted numerous musicians,includingémigrés like Schoenberg.However,it also set limits on their professional aspirations.The article delves into Schoenberg’s legacy in the city and the efforts to preserve his memory within this cultural landscape.Through uncovering little-known,forgotten,or newly discovered facts about Schoenberg’s life,it reconstructs the vibrant cultural scene of early 20th-century Vienna and,more importantly,Los Angeles during the 1930s.The article also highlights the pedagogical aspect of Schoenberg’s activities,offering a holistic view of his multifaceted personality as a composer,artist,and teacher.
文摘研究勋伯格的学者几乎都把他的创作划分为"调性时期"、"无调性时期"和"十二音时期";也有将1933年后的作品另列为"美国时期"的。其实,勋伯格本人将无调性时期和十二音时期看作是同一时期,就风格而论,两者并无区别,十二音技法只是保证无调性风格的一种手段,是对同一风格的逐步完善的过程而已。笔者试图通过勋伯格的《风格与观念》(Style and Idea)中的有关论述,来证明他的这一观点。
