摘要
R·舒曼的《妇女爱情与生活》,以浪漫主义的艺术生活和生动的音乐语言讲述了一位妇女“恋爱——结婚——生子——亡夫”的情感经历。乐曲不仅在内容与形式关系上打破了协调和统一,而且在情感内容的表达上也打破了情感与理性的统一,从而显示出舒曼所追求的美已不再是古典主义音乐客观、静穆的美,并将音乐情感的主体作为音乐审美本质的情感论音乐美学的审美特征。
That Robert Schumann's Frauenliebe und Leben Op. 42 described a woman's affective experience: amativeness-marriage- procreated-husband died with dramatic music language. The work broke away the corresponded and consolidated not only of the relationship between the content and form, but also the consolidated of the sensibility and rational while it expressed the sensibility content. It showed that the objective, solemn and quiet characteristic of the Classical music were not Schumann's work aim anymore, he focused on the principal part of the music sensibility as the quality of music aesthetics.
出处
《黄钟（武汉音乐学院学报）》
CSSCI
北大核心
2004年第3期59-63,共5页
Huangzhong:Journal of Wuhan Conservatory of Music
关键词
舒曼
《妇女爱情与生活》
音乐美学
Robert Schumann (1810 -1856), Frauenliebe und Leben Op.42 (1840) , music aesthetics
