埃迪斯科文代写Essay：施莱格尔

2017-03-23 10:13

施莱格尔的祈使–诗歌与哲学关系的调用方面，和坚持之间的距离，他们–可以带来什么仍然算是一个第十九世纪音乐史上最令人头疼的问题：环境问题的复杂程序的音乐。标题音乐的理论，在Liszt的Berlioz Harold Symphony的评论，关于历史的运动已从文学名著的音乐的“挪用到中心”。在艺术形式的发展沿着自然的生命形式的线的能力不可动摇的信念出发，李斯特到达结论：音乐，在新的表达方式的追求，一定可以吸收这些古迹文学文化围绕着它。他的结论，然而，很容易爆炸。写作之前，李斯特发表了一篇论文，叔本华曾明确地指出，音乐和现象世界之间的不可逾越的鸿沟，这与普遍的概念和例子一样。尼采，在他简短的文章“超级音乐及麦汁”（约1871），吸引了激进的后果，必要的链接不能音乐和任何在这之间建立的负面的论文。和叔本华一样，他认为歌剧和歌曲中的音乐和文字揭示了寓言关系。此外，一个音乐作品和任何图像或想法，可以调用它或伴随着它的方式在一个程序站在同一关系。在这种情况下，他认为，音乐其实选择范围以外的元素作为象形文字表示的本身。

埃迪斯科文代写Essay：施莱格尔

Both aspects of Schlegel’s imperative – the call for a rapprochement between poetry and philosophy, and the insistence on the distance that separates them – can be brought to bear on what still counts as one of the most vexing problems of nineteenth century music history: the complex of questions surrounding program music. The theory of program music, as articulated in Liszt’s review of Berlioz’s Harold Symphony, centers on the claim that the historical movement has arrived from music’s “appropriation of the masterpieces of literature.” Proceeding with an unshakable belief in the ability of art forms to evolve along the lines of natural life forms, Liszt arrives at the conclusion that music, in its quest for new modes of expression, can and must absorb those monuments of literary culture that surround it. His conclusion, however, is easily exploded. Writing well before Liszt published his essay, Schopenhauer had convincingly argued for the insuperable gulf between music and the phenomenal world, which relate as do universal concept and arbitrary example. Nietzsche, in his brief essay “Uber Musik und Wort” (ca. 1871), drew radical consequences from the negative thesis that a necessary link cannot be established between music and anything lying beyond it. Like Schopenhauer, he held that music and text in opera or song disclose an allegorical relationship. Moreover, a musical work and any image or idea that may call it forth or accompany it in the manner of a program stand in the very same relationship. In such cases, he concludes, music actually chooses the extramusical element as a hieroglyphic representation of itself.

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