【作者】 刘丹霓；

【导师】 杨燕迪；

【作者基本信息】 上海音乐学院 ， 外国音乐史论， 2011， 硕士

【摘要】 美国当代著名音乐学家伦纳德·迈尔(1918—2007)的《音乐、艺术与观念：二十世纪文化中的模式与指向》是一部重要的音乐美学和文化史著作。他以极其宽广的学术视野,以音乐为切入点,深入考察了20世纪前后受到社会历史环境影响的意识形态变革,及其对西方世界的文化信念、审美观念和艺术风格的深远影响,为音乐史学、音乐美学和音乐分析等诸多音乐研究领域带来新的视角,引发新的思考。作者对音乐、艺术和文化当今现状的描述及对未来走向的预期体现出其敏锐洞见和长远预见。全书广泛涉猎自然科学、社会科学、人文学科和各艺术门类,并将这种广阔的共时研究放入历时性的社会历史语境中,符合当下音乐学术发展潮流,必将对当今音乐学研究具有极大的参考意义和学术价值。全书分为三大部分,共十二章以及本书1994年再版时所新增的一篇跋论(第一版于1967年问世)。第一部分“前奏：现时已然境况”包括第一至五章,主要涉及对西方传统的调性音乐以及美学价值观的探讨；第二部分“现时境况,及将来或然境况”包括第六至九章,详尽论述本书主要观点——即将到来的时代是一个多种风格共存的波动静态时代。第三部分“音乐中的形式主义：质询与保留”包括第十至十二章,以整体序列主义音乐为重点,探讨了当代高度复杂的实验音乐的理论、创作和接受问题。最后的跋论则是对全书主要论点的总结、引申和补充。书评主要从全书的逻辑建构、思想内容、中心概念与关系、著述特点和研究方法以及所引发的争议五个方面对这部著作进行剖析和解读,并对作者其人及其思想理论、国内研究状况、引入本书的意义、重要术语译法以及译后心得进行简要介绍和说明。更多还原

【Abstract】 Music, The Arts and Ideas:Patterns and Predictions in Twentieth-Century Culture, written by Leonard B. Meyer (1918-2007), American musicologist, is an important treatise on music aesthetics and cultural history. In this book, Meyer examines the changes that took place around the turn of the 20th century in the ideology of the Western world, affected by the historical and social circumstances, and the profound consequences these changes caused in the Western cultural beliefs, aesthetic conceptions and artistic styles. His description of the present and prediction of the future in the realm of music, the arts and culture provide impressive insight and foresight. This book boasts a considerable range of knowledge and disciplines, from the arts to humanities, from social science to physical science and mathematics, from which Meyer draws evidences to explain his point and support his argument. It is also noteworthy that Meyer explores his various aesthetic issues in historical context. All these efforts, consistent with the current tendency of music scholarship, will make extremely significant contribution to the development of all relevant fields in China, including music history, music aesthetics and music analysis.This book consists of three parts, including twelve chapters in total, as well as a new postlude which was added to the new and second edition published in 1994 (the first edition was published in 1967). The first part, "Prelude:As It Has Been", made up of the first five chapters, focuses on the Western traditional tonal music and aesthetic values. The second part, "As It Is, and Perhaps Will Be", with four chapters in it, proposes and expounds the main point that we are entering (if not already in) a period of fluctuating stasis in which all kinds of styles coexist and none of them obtains dominance. The third part, "Formalism in Music:Queries and Reservations", including he last three chapters, taking total serialism as an example, centers on the theory, composition and reception of the highly complex contemporary music. The postlude at the end of the book not only serves as a summary of the whole book but also provides some further related discussion.The book review, written by the translator, mainly deals with five aspects of the book:the logic coherence, ideas and conceptions, key concepts, writing features and methodology, and critical judgment. Besides, the translator also introduces briefly Meyer and his general theory as well as the study of his theory in China, demonstrates the importance of translating this book, explains the translation of several key terms in music and shares some personal opinions about the translation of academic writings, gained from this translating experience.更多还原