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作为一个存在之实体的俄罗斯音乐理论思想,在西方几乎还不为人知。《新格罗夫》词典关于“分析”和“理论,理论家”的条目中没有提到俄罗斯的理论家们,仅在所附文献书目中,各列入了一部著作:阿萨菲耶夫(Boris Asaf’yev)的《作为过程的曲式》(Musical Formas Pro-cess)及其续篇《音调》(Intonation)(莫斯科,1930,1947),和丘林(YuryTiulin)的专论《二十世纪音乐的理论问题》(TheoreticalProblems of 20th-century Music,莫斯科,1967);在“分析”条目中还有马泽尔(LevMazel)1967发表的德文论文《艺术与文学》(Kunst und Literatur)。许多人都知道,柴科夫斯基写过一本和声教科书,塔涅耶夫写过一本内容丰富的对位法;懂俄文的读者在苏联的音乐学和评论著作中会见到过“音调”这个词,也许还
The Russian musical theory as an existing entity is hardly known in the West. There is no reference to Russian theorists in the article “Analysis” and “Theorists, Theorists” in the New Grove Dictionary, but only one of them is included in the attached bibliography: Assafiye The Musical Formas Pro-cess of Boris Asaf’yev and its follow-up Intonation (Moscow, 1930, 1947) and Yury Tiulin’s monograph II TheoreticalProblems of 20th-Century Music (Moscow, 1967); in the Analytical entry there is also the German-language German and Kunst und Literatur, published by LevMazel in 1967, . Many people know that Tchaikovsky wrote a harmonic textbook and Taneyev wrote an informative para-mark; Russian-speaking readers met in Soviet musicics and commentary The word “tone,” maybe