Beyond “Beautiful”

Walter S. Reiter
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引用次数: 1

Abstract

The lesson starts by comparing two paintings. One, purely decorative, depicts a vase of flowers. The other, Rembrandt’s portrait of Homer, is meaningful in many ways: to describe it merely as “beautiful” is to miss the point. So it is with music. Johann Mattheson, in Der Vollkommene Capellmeister, gives us a detailed insight into what he calls the “science of melody.” The composer chooses a required affect and turns it into a written composition; the performer studies the written page and, perceiving the affects, turns it into sound. In the lesson’s exercise, “Becoming conscious of the ever-changing affects,” the reader is charged with identifying affects in a movement by Handel on a bar-by-bar basis. Punctuation is another essential aspect of literary and musical texts and is crucial to a rhetorical way of playing. There are two types, written and implied. The reader is asked to identify the punctuation in the Handel movement.
超越“美丽”
这堂课从比较两幅画开始。其中一幅是纯装饰性的,描绘了一个花瓶。另一幅,伦勃朗的荷马画像,在很多方面都是有意义的:仅仅用“美”来形容它是没有意义的。音乐也是如此。约翰·马西森在《音乐大师》一书中,向我们详细介绍了他所谓的“旋律科学”。作曲家选择所需的情感并将其转化为书面作品;表演者研究乐谱,感知其中的影响,将其转化为声音。在这节课的练习“意识到不断变化的情感”中,读者需要在亨德尔的乐章中逐个识别情感。标点符号是文学和音乐文本的另一个重要方面,对演奏的修辞方式至关重要。有两种类型,书面和隐含。要求读者识别亨德尔乐章中的标点符号。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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