追尋西方古典音樂之美（下）

文/五花肉

追尋西方古典音樂之美（下）

Exploring Aesthetics of Classical Music(Part 2)

文/五花肉

十九世紀(jì)以前的西方古典音樂，多半能夠歸納出屬于自己的時代風(fēng)格；在此之后，同一時期的音樂創(chuàng)作者，在創(chuàng)作內(nèi)容和理念上都有屬于自己的特色和標(biāo)準(zhǔn)。人們對音樂的追求不再局限于一種格調(diào)，音樂藝術(shù)的發(fā)展領(lǐng)域變得無限寬廣。Before the 19th century, most classic music featured its own style of the times. After then, even during the same period, musicians had their own concept and standards of their works. Aesthetics of music never followed a specific style and the development space of music was greatly expanded.

浪漫思想與浪漫樂派Romantic Thoughts and Romantical Music

十九世紀(jì)，整個歐洲籠罩在一股巨大的浪漫主義思想潮流之中，維也納古典樂派的音樂已經(jīng)不能滿足時代需求，舊有的形式與規(guī)則被打破，浪漫自由成為時代“主旋律”，西方古典音樂進(jìn)入浪漫樂派時期（1820～1900年）。這一時期，60分鐘以上的龐大交響曲和不到一分鐘的短小樂曲并存，音樂表現(xiàn)形式不拘一格。

In the 19th century, romantic thoughts prevailed throughout Europe. The classic music of Vienna style could not meet the demands of the times. Traditional rules were broken and Romantical music became the theme at that time, which initiated the romantical era of classic music(1820- 1900). In this period, there was coexistence of symphony of more than 60 minutes and musical composition of less than 1 minute. Various styles of music came into being.

標(biāo)題音樂的“標(biāo)準(zhǔn)” Standards of Theme Music

浪漫樂派發(fā)展成熟時期，多種音樂形式并存。其中，最具特色的當(dāng)屬標(biāo)題音樂。

With the maturity of Romantical music, there was coexistence of various styles of music and the theme music was the unique in the era.

標(biāo)題音樂是指作曲家為了藉由音樂來描寫某一個故事或者是某一種情景的氣氛，應(yīng)用描寫式的旋律或節(jié)奏，甚至是模仿真實聲音的擬音效果，來具體表示出樂曲內(nèi)容的音樂。作曲者通常會附上說明樂曲內(nèi)容的文字，讓聆賞者可以清楚地知道作曲者的創(chuàng)作意圖，成為當(dāng)時標(biāo)題音樂創(chuàng)作的基本“標(biāo)準(zhǔn)”。

Theme music means music of certain story and circumstances. The musician adopted narrative rhythm even onomatopoeia sound effect to inform the audience of content. Composers usually added caption to help the audience understand their intention, which became the standards for theme music.

標(biāo)題音樂的創(chuàng)始者——法國著名作曲家艾克托爾?柏遼茲，以“一個藝術(shù)家的生涯”作為其代表作《幻想交響曲》的副標(biāo)題， 并且在交響樂的演奏中分別用標(biāo)題來講述一個無法得到愛情的藝術(shù)家的痛苦。在《幻想交響曲》的第四樂章，描繪了藝術(shù)家在藥物造成的幻覺中，被送至絞刑架接受絞刑的敘事內(nèi)容。

The famous French musician Hector Louis Berlioz（1803-1869）,founder of theme music, wrote“ Career of the Artist “as the subhead of his magnum opus“Symphonie Fantastique“. Each movement had a theme to express the an artist's agony of lacking in love. The 4th movement told the story that the artist was hanged in the state of hallucination.

聆聽：柏遼茲，幻想交響曲，第四樂章

Listening： Berlioz; Symphonie Fantastique; 4th movement

民族特色與國民樂派National Tradition and National Music

十九世紀(jì)中葉以后，歐洲各國的民族意識相繼覺醒，作曲家們開始在民族傳統(tǒng)素材中找尋靈感，運(yùn)用民謠曲調(diào)、節(jié)奏和傳說、軼事作為創(chuàng)作的題材。

The music, full of national tradition, was different from “German-Austrian Style“(mainly in Germany; Austria; France and Belgium) and prevailed in Russia; Eastern Europe; Northern Europe and Southern Europe. Featuring free movement and expression, national music came into being.

這種有別于德奧體系（主要是德、奧、法、比四國）音樂主流、富有民族特色的音樂，如雨后春筍般在東歐、北歐及南歐等地出現(xiàn)，形成了樂曲創(chuàng)作和表現(xiàn)形式更加自由的國民樂派。

The music, full of national tradition, was different from “German-Austrian Style“(mainly in Germany; Austria; France and Belgium) and prevailed in EasternEurope; Northern Europe and Southern Europe. Featuring free movement and expression, national music came into being.

十二音列理論Theory of Twelve Temperament

到了二十世紀(jì)，傳統(tǒng)的大、小調(diào)音階和調(diào)性系統(tǒng)，以及和聲應(yīng)用，與時代需求漸漸脫節(jié)，人們開始尋求新的音樂理論“標(biāo)準(zhǔn)”。

In the 20th century, traditional temperament system of major and minor scale and harmony got to be outmoded. Development of new standard of musical theory was underway.

法國作曲家德彪西創(chuàng)造的印象主義音樂，被看作是這次變革的起始。他的音樂在和弦的使用上相當(dāng)大膽，完全不受傳統(tǒng)和聲理論的規(guī)范，并且喜歡應(yīng)用六全音音階作曲。

French artist Achille-Claude Debussy(1862-1918) created Impressionist Music, which was regarded as the initial of the revolution. He boldly used chord beyond the limit of traditional harmony theory and tended to adopt six tone scale.

被稱作“第二維也納樂派”創(chuàng)始人的奧地利作曲家阿諾德?勛伯格，在變革的路上走得更遠(yuǎn)。他提出的《十二音列理論》，完全突破了傳統(tǒng)的大、小調(diào)音階體系和調(diào)性系統(tǒng)，深遠(yuǎn)地影響了音樂的后續(xù)發(fā)展。勛伯格為朗誦、男聲合唱，以及管弦樂隊而創(chuàng)作的晚年代表作《華沙幸存者》，就是一部完整的十二音列作品，表達(dá)了勛伯格對戰(zhàn)爭中同胞的不幸遭遇的同情，也是作曲家靈魂深處的巨大悲鳴，象征著一個猶太人的全部尊嚴(yán)。

Austrian musician Arnold Schoenberg, regarded as the founder of “the Second Vienna Music“, started more aggressive revolution. He created the theory of twelve temperament and thoroughly broke limit of traditional harmony theory, which greatly influenced the future development of music. In his old age, Schoenberg' created “A Survivor from Warsaw“ with elocnte; mixed double and chord, which was the work of twelve temperament.

聆聽：勛伯格，華沙幸存者

Listening： Schoenberg; A Survivor from Warsaw

時光流逝、歲月更迭。綜觀西方古典音樂發(fā)展歷史，其表現(xiàn)形式和創(chuàng)作理論雖歷經(jīng)變革，但抒發(fā)情感這一“標(biāo)準(zhǔn)”卻從未改變過。因為，音樂就是用有組織的樂音來表達(dá)人們思想感情、反映現(xiàn)實生活的一種藝術(shù)。

With the time pass by, tracing back the history of development, although the expression and theory of classic music changed with time, the standards of“expression of emotion“ still remained. The reason is that music is the art of organized tone for expression of emotion and description of real life.

（支持單位：上海市質(zhì)量和標(biāo)準(zhǔn)化研究院）