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題名 | Detecting Seriousness under Romanticism: Hanslick on Brahms's Symphonies=發現浪漫主義之嚴肅性:漢斯利克論布拉姆斯交響曲 |
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作 者 | 陳慧珊; | 書刊名 | 藝術學報 |
卷期 | 75 2004.12[民93.12] |
頁次 | 頁281-296 |
分類號 | 912.31 |
關鍵詞 | 布拉姆斯交響曲; |
語文 | 英文(English) |
中文摘要 | 當布拉姆斯被公認為十九世紀音樂特質「集成者」的同時,有關他該被視為「浪漫的古典主義者」或「古典的浪漫主義者」之,卻仍未有共識。這個分歧源自於大家對布拉姆斯音樂的本質有不同的認知,即使大部份的音樂學者首理論家皆同意,在布拉姆斯富於古典風格的音樂結構中,蘊涵著充滿表現力的浪漫主義特質(例如豐富的和聲、抒情的旋律以及戲劇的張力等)。然而,對於布拉姆斯的推崇者漢斯利克而言,這種「分歧」卻是不存在的。漢氏在布拉姆斯的音樂中,發現一種結合了精練技巧與崇高浪漫精神的獨特嚴肅性;誠如漢氏在其著名的《論音樂美》中所提出的見解,音樂的理解不應受限於情感因素,此「嚴肅性」並不與任何情緒化特質混淆。而正是這種體現在浪漫主義裡、兼具理性與感性的嚴肅性,贏得漢斯利克對布拉姆斯的敬意,並尊稱他的音樂為「音樂史上的顛峰」。 經由對漢斯利克觀點的研究,本文旨在探討某些漢斯克評論布拉姆斯交響曲的審美標準。 |
英文摘要 | While Brahms’s historical position as a great nineteenth-century musical ‘synthesizer’ is widely recognized today, the discussion on weather he should be considered a ‘Romantic-Classicist’ or a ‘Classical-romanticist remains’ remains unsettled. This disagreement originated in different views about the essence of Brahms’s music, even though most musicologists or theorists agree that Brahms’s music contains numerous expressive elements of Romanticism (e.g. rich harmonies, lyric melodies, and dramatic intensities) but is classical in its musical structures. Such ‘difference’ ‘however, plays no part in Brahms enthusiast Eduard Hanslick’s proposition. In his well-discussed Vom Musikalish-Sconen, which notably claims that music is not to be understood in terms of emotion, Hanslick detects a unique seriousness throughout Brahms’s music, which combines the composer’s sophisticated technique with the composer’s sublime spirit of Romanticism. By no means should such ‘seriousness’ be confused with any emotive quality, for it is precisely this sense of gravity that is the root cause of Hanslick regarding Brahms’s music as ‘the summit of the history of music’. Through exploring Hanslick’s views, this paper aims to reveal some of the aesthetic criteria by which Hanslick has judged the symphonies of Brahms. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。