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| 題 名 | La Ruta de Alejo Carpentier: Teoría de los Orígenes de la Música y los Géneros Estéticos=阿萊霍.卡彭鐵爾之路--音樂和美學流派起源的原理=The Route of Alejo Chrpentier: Theory of the Origins of Music and Esthetic Genres |
|---|---|
| 作 者 | 諾伯特.弗朗西斯; | 書刊名 | 淡江人文社會學刊 |
| 卷 期 | 28 民95.12 |
| 頁 次 | 頁123-162 |
| 分類號 | 885.5 |
| 關鍵詞 | 阿萊霍.卡彭鐵爾; 音樂創作; 美學流派的起源; 敘述; Creaciόn musical; Origen de los géneros estéticos; Narrativa; Musical creation; Origin of esthetic genres; Narrative; |
| 語 文 | 西班牙文(Spanish) |
| 中文摘要 | 本文是一篇有關古巴作家和音樂學者阿萊霍.卡彭鐵爾(Alejo Carpentier)早期作品的調查報告。文章首先對他最早的三部小說Ecie-yambo-o(奉為上帝,1933年)、E1 reino de este mundo(這個世界的王國,1943年)和Los pasos perdidos(消失的足音,1953年)進行了回顧。卡彭鐵爾(Carpentier)同期完成了他對古巴音樂史的研究專著La música en Cuba(1946年)。三部小說的中心議題是對文學和音樂中美學流派來歷的研究,卡彭鐵爾(Carpentier)最終在Los pasos perdidos中提出了早期人類社會音樂起源的原理及其與詩歌並行出現的聯繫,與此同時,這也是美學流派最基本/最原始、最精華的部分。口頭藝術與音樂有著共同的起源。每一篇作品的構思均與時代的盛衰以及對實質性概念及分類的不斷深入探索相呼應:(1)十九世紀的非洲古巴(Afrocuban)學派,(2)海地(Haitian)革命以及(3)委內瑞拉和哥倫比亞亞馬遜河(Amazon)地區偏僻土著村落之路(二十世紀50年代),期間最終發現了先前時代致使音樂誕生的相同條件。卡彭鐵爾(Carpentier)駁斥了這樣的理論:音樂創作的能力可追溯到從最初的靈感到模仿的刺激;那樣的自然環境聲音由早期人類賦予美的節拍並轉換為藝術形式。文章將對這一主題的討論進一步延伸到對尚.雅各.盧梭(Jean Jacques Rousseau)有關音樂和語言起源及音樂認知現代原理的著作進行檢驗。 |
| 英文摘要 | This article reports on an investigation of the early works of the Cuban writer and musicologist Alejo Carpentier. It begins with an overview of his first three novels Ecue-yambo-o (Praised be the Lord, 1933), E1 reino de este mundo (The kingdom of this world, 1943), and Los pasos perdidos (The lost steps, 1953). During this same period, Carpentier completed his study of the history of music in Cuba, La música en Cuba (1946). A central theme in the three novels is the study the antecendents of esthetic genres in both literature and music, culminating in a proposal by Carpentier in Los pasos perdidos of a theory of the origin of music in early human societies and its links to the parallel emergence of poetry, at the same time the most basic/primary and most refined of the esthetic genres. Verbal art shares with music a common origin. The settings of each works correspond to a regression in time and progressive search for essential concepts and categories, respectively: (1) the Afrocuban communities of the 19th Century, (2) The Haitian revolution, and (3) a journey to the isolated indigenous villages of the Amazon region of Venezuela and Colombia (during the 1950's) resulting in the discovery of the same conditions that had given birth to music in prehistoric times. Carpentier argues against the theory that the capacity for musical creation can be traced primarily to imitative impulses; that natural environmental sounds were processed esthetically by early humans and transformed into artistic forms. The article extends the discussion of this theme to an overview of modern theories of musical cognition. |
本系統中英文摘要資訊取自各篇刊載內容。