理查德-施特劳斯在线

IF 0.2 3区 艺术学 0 MUSIC
David Larkin
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引用次数: 0

摘要

在一个历史雕像可能被推倒、声誉可能被打碎的时代,评论版本仍然是证明作曲家重要性的更持久的纪念碑之一。由十九世纪的巴赫和亨德尔版本开始,试图为一位作曲家的全部音乐作品制作 "正确 "文本的做法在第二次世界大战后的几十年中达到了顶峰,导致了新巴赫版本(1954-2007 年)和新莫扎特版本(1955-91 年)等重要项目的出现。在这一时期,版本制作如此普遍,以至于约瑟夫-克尔曼(Joseph Kerman)抱怨说:"一门学科花费(或花费)在建立文本上的时间远远多于思考已建立文本的时间,这门学科是有问题的"。然而,尽管有这样的批评,在过去 40 多年中,音乐学研究的其他形式也在不断涌现,批评版本的制作仍在继续,新的项目包括雅那切克(1978-)、威尔第(1983-)、多尼采蒂(1989-)和巴托克(2016-)等。尽管版本制作在音乐学工作中的主导地位远不如从前,但它依然存在,这是对经典所面临挑战的一种默示反驳。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Richard Strauss Online
In an era when historical statues can be toppled and reputations smashed, critical editions remain one of the more durable monuments to the significance of a composer. Initiated by the nineteenth-century Bach-Gesellschaft and Händel-Gesellschaft editions, the practice of trying to produce a ‘correct’ text of the complete musical works of a single composer reached its apogee in the decades after World War II, leading to marquee projects like the Neue Bach-Ausgabe (1954–2007) and the Neue Mozart-Ausgabe (1955–91). So pervasive was edition-making in this era that it led Joseph Kerman to complain ‘there is something wrong with a discipline that spends (or spent) so much more of its time establishing texts than thinking about the texts thus established’. But despite such criticisms and amid the proliferation of alternative forms of musicological research in the last 40 years or so, the making of critical editions has continued, with new projects taking in figures such as Janáček (1978–), Verdi (1983–), Donizetti (1989–) and Bartók (2016–), among many others. Even if it may be nowhere near as dominant a part of musicological endeavour as it once was, edition-making has survived, a tacit refutation of the challenges that the canon has met with.
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来源期刊
CiteScore
0.30
自引率
66.70%
发文量
58
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