舒伯特一些文本和器乐作品中的重述压缩

IF 0.4 2区 艺术学 0 MUSIC
J. Guez
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引用次数: 1

摘要

音乐重唱和再现的主题组织并没有像阐释那样受到重视。其中一个原因是,假设重述只是简单地追溯已经在呈示中绘制的主题路径,并调整其音调轮廓以保持主音。本文试图通过将分析和解释的注意力集中在少数叠句、重唱和重述上,从而使这一观点复杂化,这些叠句、重唱和重述的特征是删除了一些参考主题材料。我的主要观点是,首先,这种重述式压缩给听众和虚拟主角带来了时间和视角扭曲的感觉(如“太快”或“太近”或“太大”),其次,它们与当前动作的呈现内容——文本、主题、模式等——的各个方面协同工作,以投射复杂和多方面的音乐叙事。例子来自诗歌,歌曲和器乐,包括歌德的“Erster Verlust”和舒伯特的背景(D. 226);米勒的“Täuschung”和“Die Nebensonnen”以及舒伯特对它们的设定(D. 911);舒伯特的A小调四手快板,“lebensstrme”,D. 947。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Recapitulatory Compressions in Some Texted and Instrumental Works by Schubert
The thematic organization of musical reprises and recapitulations has not received as much attention as that of expositions. One reason for this is the assumption that recapitulations are simply retracings of thematic paths already plotted in the exposition, with their tonal profiles adjusted to remain in the tonic. The present article seeks to complexify this view by devoting analytic and interpretive attention to a handful of refrains, reprises, and recapitulations that feature deletions of some of their referential thematic material. My primary claims are, first, that such recapitulatory compressions afford feelings of temporal and perspectival distortion (such as “too soon” or “too close” or “too large”) to listeners and to virtual protagonists, and second, that they work in concert with aspects of the presented content of the movements at hand—text, topic, mode, and so on—to project complex and multifaceted musical narratives. Examples come from poetry, song, and instrumental music and include Goethe's “Erster Verlust” and Schubert's setting of it (D. 226); Müller's “Täuschung” and “Die Nebensonnen” and Schubert's settings of them (D. 911); and Schubert's Allegro in A minor for Four hands, “Lebensstürme,” D. 947.
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来源期刊
CiteScore
1.70
自引率
25.00%
发文量
26
审稿时长
42 weeks
期刊介绍: Music Theory Online is a journal of criticism, commentary, research and scholarship in music theory, music analysis, and related disciplines. The refereed open-access electronic journal of the Society for Music Theory, MTO has been in continuous publication since 1993. New issues are published four times per year and include articles, reviews, commentaries, and analytical essays. In addition, MTO publishes a list of job opportunities and abstracts of recently completed dissertations.
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