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美国音乐学家O·汤普森曾这样论及柯普兰:“美国这个多民族结合的国家并没有把艾伦·柯普兰视为传统欧洲音乐文化的代言人,而把他算做那些是第二代人起重要作用的归化民族为美国提供新因素的代表。他们的第二代人正是登上美国这个舞台、而不是别的地方之后,并没有在他们的语言、音乐或别的方面返回到故国去。如果把柯普兰的音乐与他父母的故乡——俄国联系起来的话,很少存在这种情况。在三重奏《vitebsk》(犹太主题研究)里,评论家们指出,有一种强烈的希伯来味道。可是在《墨西哥沙龙》(《El salon Mexico》)里却有着更为明显的拉丁美洲情感,人们只有翻一翻这位作曲家早期运用爵士乐语汇的作品,才会发现他利用美国音乐表达方式是那么自如:这只有本乡本土人才能做得到。”
American musicologist O. Thompson once said of Copeland: “The United States, a multi-ethnic country, does not regard Alan Copeland as the spokesman for the traditional European musical culture, but counts him as the second generation The domestically-owned nations that played an important role represented the new factor for the United States, whose second generation did not return to their language, music or other after landing on the stage of the United States rather than elsewhere It is seldom the case if Copeland’s music was linked to his parents’ hometown of Russia, and in the trio ”vitebsk“ (the Jewish thematic study) critics pointed out that there was a strong Greek However, in the ”El salon Mexico“ there is a more pronounced Latin American sentiment. Only when the composer doubled the earlier work of the composer in using jazz lexicon, did he find out that he was using the United States The way of expressing music is so comfortable: only local people in Hong Kong can do it. ”