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目标片段因为它古典音乐出现的时候，它就是流行音乐，它出现的动机就是要给老百姓甚至都不是贵族，要给老百姓造成某种情感氛围的音乐，那不就是现在的流行音乐，也就是古典音乐。这两者之间在意义上或者说在档次上没有区别。我之前做过一些在这个播客里做过很多更加正经的有关古典音乐的讨论。比如说有一期讲的就是如何欣赏古典音乐。然后还有一期讲的是如何欣赏歌剧。还有一期讲的是我为何喜欢莫扎特那那里我也非常清楚的解释了。
来源片段atonal music of any stripe, as opposed to others who consider it perhaps the only means of true expression. My own feelings on atonal music are pretty complicated. Some of it I like, and some of it I really hate, but that has less to do with the idea of a lack of tonal center than it does with other factors, more of which I'll get into later. But today, on the first of a multi-part series, I'm going to take you through some of the history of atonal music, why it exists, what composers were and are trying to say with it, and perhaps most importantly, I'll try to find a way to help you enjoy this music,
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it, and perhaps most importantly, I'll try to find a way to help you enjoy this music, since it makes up a large part of our repertoire, and it's a vital part of musical history that needs to be understood, if not always loved. And if you loved atonal music from the beginning, then great, and maybe you'll learn a little bit more about the history today. So today we're going to be focused on 12-tone music, the invention of Arnold Schoenberg, and the true beginnings of a movement that transformed 20th century music, and according to some people, ruined it. But the truth is, there's a lot more to atonal music than just Schoenberg and his disciples.
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我们在这里甚至可以不对比古典音乐和流行音乐。我们在这里对比古典音乐和现代音乐，现代音乐里的审美取向和古典音乐最大的区别就在于现代音乐追求的就是这种纯粹的经验，它关心的是感受以及感受的持续，而不是感受的发展。我们在现代音乐中听到的是一个没有目的的现在，而不是一个向终点发展的过程。因为它的烹饪它的烹饪技巧可能是绝佳的。因为这极其高超的烹饪方式，但是它已经消解了古典音乐中的叙事，它通过重复来消解古典音乐中那种展开和前进的过程。
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If I sit at the piano and play that low C, you may think you're hearing only that one tone, a dark, rich bass note, but you're not. You are simultaneously hearing a whole series of higher tones that are sounding at the same time. These are arranged in an order preordained by nature and ruled by universal physical laws. If this is news to you, I hope it's good news. All these upper notes of which you may be unaware result from a phenomenon of nature
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你可能通过这种重复感受的到情感的共振，无疑我们要承认共振的力量可能也是非常强大的，能够让你感受到情感的冲击巨大的冲击，从而得出这是美的结论。在它对称的周期中，你能够听到重音的不断偏移，你能够听到重复的模式中有一些内部滑动。但是你不是在体验一个事件，不是一个有始有终的生命，你在其中察觉的只是一个静态。你要问的不是接下来会怎样？这个音乐通往哪里？
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In Vavorne, I don't mind because the works are so short, but in longer atonal works, I do admit I find myself lost sometimes. Not only because there is no harmonic grounding, but also because it's very hard to find a structural grounding. The Schoenberg Violin Concerto I played at the beginning is a great example of this. The music seems to drag on endlessly without a structural framework. Now, I know there is one, but the lack of harmonic grounding makes it extremely hard to perceive of it. This is actually an experience I had with the Berg Violin Concerto. When I first was asked to conduct it, I thought I didn't like the piece.
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我期待的是能够自我说明能够自我完成的音乐。而基建主义拒绝的恰恰是这种完成意义本身被消解了，意义，转化成了状态。在巴赫那里意义产生于生部之间的关系，主题和主题之间的关系，调性和调性之间的关系。我说我觉得缺了点什么？是因为我听不见发展的轨迹，我只听见垂直的时间，而垂直的时间其实就是没有时间，只有情感在悬浮时间里的涌动。在最好的案例中，这种涌动可以达到震撼，可以达到情感的震荡。