摘要
音乐文本批评源于西方文学批评理论中的文本批评,是影响和误读理论在音乐领域运用后产生的一种互文性研究方法。细致梳理现代批评理论发展动向,发掘文本批评的历史定位及其在文学与音乐领域中相应的批评范式;以音乐文本批评为方法论,通过哈罗德·布鲁姆的误读理论,以及凯文·科辛的音乐文本批评路径,阐释美国当代作曲家约翰·亚当斯器乐作品的独特艺术创造力。亚当斯环形链条的写作建立于对历史文本的引用,该写作策略构成对贝多芬和勃拉姆斯的误读。历史文本中的写作要素,又在亚当斯改造简约主义音乐的过程中起到关键性作用,借助传统手段改造后的简约主义音乐具有明确的运动方向性,并具备承载复杂表情的能力,因此构成亚当斯独特的音乐话语。
Textual criticism in music stems from textual criticism in western literary criticism theory,which is a kind of"intertextual"research after the"influence"and"misreading"theory applied in the field of music.Textual criticism in modern criticism has its historical position and has formed its corresponding paradigm in literary and musical criticism.Based on the method of textual criticism in music,the author uses Harold Bloom's misreading theory,and takes the critical path of Kevin Cothin's musical text.In that way we can find John Adams'instrumental music has a unique artistic creativity.Its circular chain of writing is based on references to historical texts.This writing strategy constitutes a response to Beethoven and Brahms's"misreading."The writing elements in historical texts play a key role in the process of Adams'transformation of minimalist music,which has a clear direction of movement and the ability to carry complex expressions,forming Adams'unique musical discourse.
出处
《音乐艺术（上海音乐学院学报）》
北大核心
2024年第3期166-181,共16页
Art of Music(Journal of the Shanghai Conservatory of Music)
基金
教育部人文社科青年课题《汉语语境下音乐修辞视阈的作品分析研究》,项目批准号:18YJC760139
