《音樂探索:中央音樂學院音樂學文集(英文版)》是由中央音樂學院音樂學系主持輯錄的學術論文集，《音樂探索:中央音樂學院音樂學文集(英文版)》中收集了中央音樂學院從事音樂學教學和研究工作的學者們階段性的研究成果。
基本介紹
- 書名：音樂探索:中央音樂學院音樂學文集
- 作者：張伯瑜
- 出版日期：2010年11月1日
- 語種：英語
- ISBN：9787810963695
- 外文名：Discourse in Music:Collected Essays of the Musicology Department Central Conservatory of Music
- 出版社：中央音樂學院出版社
- 頁數：263頁
- 開本：16
- 品牌：中央音樂學院出版社
內容簡介,圖書目錄,文摘,
內容簡介
《音樂探索:中央音樂學院音樂學文集(英文版)》由中央音樂學院出版社出版。
圖書目錄
Acknowledgement
Music Aesthetics and Appreciation
A Foreword to the book“Interpretation of Tragic Content in Chopin' s Music”
The Aesthetics of the Universal Union of Man and Nature: The Combination of Emotion and Setting as Influences upon Traditional Chinese Music
Thoughts on Problems Relevant to Prospects of Musicological Development at the“Forum of Contemporary Musicology Research Experts” in Nanjing
Is There Such Thing on Earth as Art?——A discussion with E. H. J. Combrich
Over the Imperial Millennia, with Ritualism Being Paid Its Due: Who Would Have Dared Express the Affectivity of Music?
Neutralization: Tendencies in the Post-Westernization Era - Predictions about the New Paradigm of Muhicuhuralism in Music
The Trend from “Not Beautiful” to “Not Being” ——What Is the Baseline of Art?
Concern about One' s Audience——Revelations from Contemporary Hermeneutics and Reception Aesthetics Addressed to the Aesthetics of Music
Chan and Qin: Buddhist Thoughts in the Aesthetics of Guqin (Seven-Stringed Zither)
Standardized Evaluation and Non-Standardized Evaluation in Music Aesthetics
Reflections on Perceptual Wisdom—— A View of Formalism in the Aesthetics of Music
A Commentary on Zofia Lissa' s Thoughts Concerning Musical Aesthetics Discussed in Three Books
Chinese Traditional Music
Thoughts on the Historical Source and Development of Quanzhou Nanyin ( Southern Sounds of Quanzhou)
Original Style:“Original-State” or “Original-Ecology”?
The Sixth Progression in HaM (Chinese majority) Folk Songs
Study of the Literal Notation in the Christian Hymns of the Ethnic Minorities in Yunnan Province
On the Loss of Traditional Musical Thinking in the Current Development of Chinese Instrumental Music
Some Doubts about “Protoecological” Music
Nianci ( Word Recitals) : Folk Ritual Songs in Xi' an Guyue( Instrumental Ensemble of Xi' an)
Chinese Music History
Ding Shande: A Pioneer and Founder for the Development of Chinese Piano Music
Rewrite Musical History: A Timeless Subject
Development of Chinese Piano Music
Western Music History
When "Criticizing Absolute Music" Was in Vogue
Bach Studies in China
Composition, History of Music Structure and the History of Human Beings Introduction to the Musical History of Daulhaus
Johannes Tinctoris and the Change of Ideas in Music in the Renaissance
Rhetoric: A Strategy for Musical Breakthrough Observation and Analysis of How Artistic Trends in European Music Emerged from Religious Liturgy
World Music
The Spread and Influence of Indian Music and Dance in China
Music of Original Ecology and Origianl Ecology of Music
African Music Study in China
Music Aesthetics and Appreciation
A Foreword to the book“Interpretation of Tragic Content in Chopin' s Music”
The Aesthetics of the Universal Union of Man and Nature: The Combination of Emotion and Setting as Influences upon Traditional Chinese Music
Thoughts on Problems Relevant to Prospects of Musicological Development at the“Forum of Contemporary Musicology Research Experts” in Nanjing
Is There Such Thing on Earth as Art?——A discussion with E. H. J. Combrich
Over the Imperial Millennia, with Ritualism Being Paid Its Due: Who Would Have Dared Express the Affectivity of Music?
Neutralization: Tendencies in the Post-Westernization Era - Predictions about the New Paradigm of Muhicuhuralism in Music
The Trend from “Not Beautiful” to “Not Being” ——What Is the Baseline of Art?
Concern about One' s Audience——Revelations from Contemporary Hermeneutics and Reception Aesthetics Addressed to the Aesthetics of Music
Chan and Qin: Buddhist Thoughts in the Aesthetics of Guqin (Seven-Stringed Zither)
Standardized Evaluation and Non-Standardized Evaluation in Music Aesthetics
Reflections on Perceptual Wisdom—— A View of Formalism in the Aesthetics of Music
A Commentary on Zofia Lissa' s Thoughts Concerning Musical Aesthetics Discussed in Three Books
Chinese Traditional Music
Thoughts on the Historical Source and Development of Quanzhou Nanyin ( Southern Sounds of Quanzhou)
Original Style:“Original-State” or “Original-Ecology”?
The Sixth Progression in HaM (Chinese majority) Folk Songs
Study of the Literal Notation in the Christian Hymns of the Ethnic Minorities in Yunnan Province
On the Loss of Traditional Musical Thinking in the Current Development of Chinese Instrumental Music
Some Doubts about “Protoecological” Music
Nianci ( Word Recitals) : Folk Ritual Songs in Xi' an Guyue( Instrumental Ensemble of Xi' an)
Chinese Music History
Ding Shande: A Pioneer and Founder for the Development of Chinese Piano Music
Rewrite Musical History: A Timeless Subject
Development of Chinese Piano Music
Western Music History
When "Criticizing Absolute Music" Was in Vogue
Bach Studies in China
Composition, History of Music Structure and the History of Human Beings Introduction to the Musical History of Daulhaus
Johannes Tinctoris and the Change of Ideas in Music in the Renaissance
Rhetoric: A Strategy for Musical Breakthrough Observation and Analysis of How Artistic Trends in European Music Emerged from Religious Liturgy
World Music
The Spread and Influence of Indian Music and Dance in China
Music of Original Ecology and Origianl Ecology of Music
African Music Study in China
文摘
A person holding an empty barrel appears on the stage and urinates into the barrel in public, making a noise, and then calls it“ musical works” (there are more examples like this under the pretext of “Behaviorism” in the field of fine arts). Faced with such “musical works”, the fool is not the “creator”, but rather it is the audience or “theorist”failing to laugh at the contemptible ignorance and shamelessness of this behavior, and holding a serious discussion about“what is art”?
They begin to doubt their own good sense of judgment about general knowledge in response to the stage performer' s way of doing things. John Cage' s “works” such as 4“33”caused aesthetic theorists all over the world to think about “ what is music?”, “what is art?”, a galling shame and considered deeply insulting in intellectual circles! The best attitude towards this phenomenon is to show contempt by either a hilarious laugh or an angry curse, laughing at the lack of basic general knowledge, especially that of logic and philosophy.
But, we cannot take such a superficial attitude towards the question as to why there emerges just such a phenomenon, precisely because it concerns itself with the essence of art in many respects.
They begin to doubt their own good sense of judgment about general knowledge in response to the stage performer' s way of doing things. John Cage' s “works” such as 4“33”caused aesthetic theorists all over the world to think about “ what is music?”, “what is art?”, a galling shame and considered deeply insulting in intellectual circles! The best attitude towards this phenomenon is to show contempt by either a hilarious laugh or an angry curse, laughing at the lack of basic general knowledge, especially that of logic and philosophy.
But, we cannot take such a superficial attitude towards the question as to why there emerges just such a phenomenon, precisely because it concerns itself with the essence of art in many respects.
