追寻西方古典音乐之美（下）

文/五花肉

追寻西方古典音乐之美（下）

Exploring Aesthetics of Classical Music(Part 2)

文/五花肉

十九世纪以前的西方古典音乐，多半能够归纳出属于自己的时代风格；在此之后，同一时期的音乐创作者，在创作内容和理念上都有属于自己的特色和标准。人们对音乐的追求不再局限于一种格调，音乐艺术的发展领域变得无限宽广。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.

浪漫思想与浪漫乐派Romantic Thoughts and Romantical Music

十九世纪，整个欧洲笼罩在一股巨大的浪漫主义思想潮流之中，维也纳古典乐派的音乐已经不能满足时代需求，旧有的形式与规则被打破，浪漫自由成为时代“主旋律”，西方古典音乐进入浪漫乐派时期（1820～1900年）。这一时期，60分钟以上的庞大交响曲和不到一分钟的短小乐曲并存，音乐表现形式不拘一格。

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.

标题音乐的“标准” Standards of Theme Music

浪漫乐派发展成熟时期，多种音乐形式并存。其中，最具特色的当属标题音乐。

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

标题音乐是指作曲家为了藉由音乐来描写某一个故事或者是某一种情景的气氛，应用描写式的旋律或节奏，甚至是模仿真实声音的拟音效果，来具体表示出乐曲内容的音乐。作曲者通常会附上说明乐曲内容的文字，让聆赏者可以清楚地知道作曲者的创作意图，成为当时标题音乐创作的基本“标准”。

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.

标题音乐的创始者——法国著名作曲家艾克托尔・柏辽兹，以“一个艺术家的生涯”作为其代表作《幻想交响曲》的副标题， 并且在交响乐的演奏中分别用标题来讲述一个无法得到爱情的艺术家的痛苦。在《幻想交响曲》的第四乐章，描绘了艺术家在药物造成的幻觉中，被送至绞刑架接受绞刑的叙事内容。

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.

聆听：柏辽兹，幻想交响曲，第四乐章

Listening： Berlioz; Symphonie Fantastique; 4th movement

民族特色与国民乐派National Tradition and National Music

十九世纪中叶以后，欧洲各国的民族意识相继觉醒，作曲家们开始在民族传统素材中找寻灵感，运用民谣曲调、节奏和传说、轶事作为创作的题材。

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.

这种有别于德奥体系（主要是德、奥、法、比四国）音乐主流、富有民族特色的音乐，如雨后春笋般在东欧、北欧及南欧等地出现，形成了乐曲创作和表现形式更加自由的国民乐派。

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.

十二音列理论Theory of Twelve Temperament

到了二十世纪，传统的大、小调音阶和调性系统，以及和声应用，与时代需求渐渐脱节，人们开始寻求新的音乐理论“标准”。

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.

法国作曲家德彪西创造的印象主义音乐，被看作是这次变革的起始。他的音乐在和弦的使用上相当大胆，完全不受传统和声理论的规范，并且喜欢应用六全音音阶作曲。

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.

被称作“第二维也纳乐派”创始人的奥地利作曲家阿诺德・勋伯格，在变革的路上走得更远。他提出的《十二音列理论》，完全突破了传统的大、小调音阶体系和调性系统，深远地影响了音乐的后续发展。勋伯格为朗诵、男声合唱，以及管弦乐队而创作的晚年代表作《华沙幸存者》，就是一部完整的十二音列作品，表达了勋伯格对战争中同胞的不幸遭遇的同情，也是作曲家灵魂深处的巨大悲鸣，象征着一个犹太人的全部尊严。

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.

聆听：勋伯格，华沙幸存者

Listening： Schoenberg; A Survivor from Warsaw

时光流逝、岁月更迭。综观西方古典音乐发展历史，其表现形式和创作理论虽历经变革，但抒发情感这一“标准”却从未改变过。因为，音乐就是用有组织的乐音来表达人们思想感情、反映现实生活的一种艺术。

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.

（支持单位：上海市质量和标准化研究院）