[00:00.00]Unit 5 text A The New Music
[00:03.24]新音乐
[00:06.48]The new music was built out of materials already in existence:
[00:09.76] 新音乐是基于已有的三种音乐:
[00:13.04]blues, rock'n'roll, folk music.
[00:15.56]布鲁斯,摇滚乐,民间音乐发展起来的.
[00:18.08]But although the forms remained,
[00:20.11]但是虽然这些形式依然保留着,
[00:22.15]something completely new and original was made out of these older elements
[00:25.78]一些全新的富有创造性的东西从这些旧音乐中产生了
[00:29.41]more original,perhaps,than even the new musicians themselves yet realize.
[00:33.49]---也许比新音乐家们所意识到更大具创造性.
[00:37.56]The transformation took place in 1966-1967.
[00:41.64]这种变化发生于1966年到1967年之间.
[00:45.71]Up to that time,the blues had been an essentially black medium.
[00:48.99]一直到那个时候,布鲁斯一直是一种基本的黑人艺术表现形式.
[00:52.27]Rock 'n' roll,a blues derivative,was rhythmic dance music.
[00:55.39]摇滚乐,衍生于布鲁斯,是有节奏的舞曲.
[00:58.51]Folk music,old and modern,was popular among college students
[01:02.09]民间音乐,无论旧的或者现代的,在大学生中都很流行.
[01:05.67]The three forms remained,musically and culturally distinct,
[01:08.86]这三种形式保留着音乐和文化方面的特色,
[01:12.05]and even as late as 1965,
[01:14.57]甚至到1965年,
[01:17.09]none of them were expressing any radically new states of consciousness
[01:19.87]这三种音乐没有一种表达出任何激进的新的意识形态.
[01:22.65]Blues expressed black soul;rock was the beat of youthful energy;
[01:26.53]布鲁斯表达黑人的情感;摇滚乐是青春活力的跳动;
[01:30.41]and folk music expressed anti-war sentiments as well as love and hope.
[01:33.99]民间音乐表达反战情绪,爱和恨.
[01:37.57] In 1966--1967 there was spontaneous transformation.
[01:42.00] 1966-1967年之间发生了自然的转化.
[01:46.42]In the United States,it originated with youthful rock groups
[01:52.77]playing in San Francisco.
[01:54.95]在美国,变化起源于在圣.弗兰西斯科(旧金山)表演的青年摇滚组合.
[01:57.13]In England,it was led by the Beatles
[01:59.42]在英国,则是由甲壳虫乐队(披头士摇滚乐队)带头,
[02:01.70]who were already established as an extremely fine
[02:07.56]and highly individual rock group.
[02:09.48]他们已确立了非常优秀,极有特色的摇滚组合.
[02:11.40]What happened,as well as it can be put into words, was this.
[02:14.52]所发生的情况,如果用言语尽可能表达出来是这样的.
[02:17.64]First,the separate musical traditions were brought together.
[02:20.88]首先独立的音乐传统被融合在一起.
[02:24.12]Bob Dylan and the Jefferson Airplane
[02:26.25]鲍伯.锹伦和杰弗逊飞机乐队演出民间摇滚乐,
[02:28.38]played folk rock folk ideas with a rock beat.
[02:31.55]民间音乐的思想伴以摇滚乐的节拍.
[02:34.72]White rock groups began experimenting with the blues.
[02:37.60]白人摇滚组合浓度使用布鲁斯.
[02:40.47]Of course white musicians had always played the blues,
[02:43.25]当然,白人音乐家早已演奏布鲁斯,
[02:46.03]but essentially as imitators of the Negro style;
[02:48.67]但基本上对黑人风格的模仿,
[02:51.31]now it began to be the white bands' own music.
[02:53.99]现在已经开始成为白人乐队自己的音乐.
[02:56.67]And all of the groups moved towards a broader eclecticism and synthesis
[03:00.60]所有的组合都走向更大广泛的折衷和合成.
[03:04.53]They freely took over elements from jazz,from American country music,
[03:07.91]他们自由吸取爵士乐和美国乡村音乐的成分,
[03:11.29]and as time went on from even more diverse sources.
[03:14.42]随着时间的推移甚至从更多的来源中吸取营养.
[03:17.54]What developed was a music readily taking on various forms and capable
[03:21.12]音乐很快地发展成为具有多种形式,
[03:24.70] of an almost limitless range of expression.
[03:27.52]并且几乎具有无限的表达力.
[03:30.34] The second thing that happened
[03:32.31]发生的第二种情况是
[03:34.28]was that all the musical groups began using the full range of electric instruments
[03:38.06]所有音乐组合开始使用整套电声乐器
[03:41.83]and the technology of electronic amplifiers.
[03:44.50]和电子放大器技术.
[03:47.16]The electric guitar was an old instrument,
[03:49.69]电吉他是一种旧乐器,
[03:52.23]but the new electronic effects were altogether different
[03:55.15]但新吉他的电子效果完全不同了
[03:58.08]so different that a new listener in 1967 might well feel
[04:01.20]---1967年的一位新听众可能真的感觉到
[04:04.32]that there had never been any sounds like that in the world before.
[04:07.50]世界上前所未有的声音.
[04:10.67]Electronics did,in fact,
[04:12.71]事实上,电子学的确可以
[04:14.75]make possible soundsthat no instrument up to that time could produce.
[04:18.17]制作出直到那时为止乐器所发不出的声音.
[04:21.59]And in studio recordings,new techniques made possible effects that not even an electronic band could produce live.
[04:26.78]在录音室录制时,新技术有可能制作出甚至电子乐队在表演现场都演奏不出的效果.
[04:31.96]Electronic amplifiers also made possible a fantastic increase in volume
[04:35.68]电子放大器也使得在音量方面能够有意想不到的增高.
[04:39.41]the music becoming as loud and penetrating as the human ear could stand,
[04:43.04]音乐在人类耳朵所能随范围内变得响亮,具穿透力,
[04:46.67]and thereby achieving a "total"effect
[04:49.19]由此达到了一种完美的效果.
[04:51.71]so that instead of an audience of passive listeners
[04:54.60]所以听众已不是被动的听众,
[04:57.48]there were now audiences of total participants
[05:00.56]现在的听众是完全投入的听众,
[05:03.65]feeling the music in all of their senses and all of their bones.
[05:07.67]他们全身心感觉着音乐.
[05:11.69]Third,the music becomes a multi--media experience a part of a total environment.
[05:16.63] 第三点,音乐成为一种多媒体的感受,成为整修环境中的一部分.
[05:21.57]The walls of the ballrooms were covered with changing patterns of light
[05:24.95]舞厅的墙上闪着形式变幻的灯光,
[05:28.33]the beginning of the new art of the light show.
[05:31.36]成为灯泡表演这门新技术的开始.
[05:34.39]And the audience did not sit, it danced.
[05:37.21]观众不是坐着听,他们在跳舞.
[05:40.04]With records at home,listeners imitated these lighting effects as best they could,
[05:43.67]家里有了唱盘,听众尽力模仿舞厅灯光效果,
[05:47.30]and heightened the whole experience by using drugs.
[05:50.24]并通过使用药物以加强整体感受.
[05:53.18]Often music was played out of doors,where nature provided the environment.
[05:56.90]音乐还常在以大自然为环境的户外演奏.
[06:00.62]Text B Different Types of Composers
[06:03.21]不同类型的作曲家
[06:05.79]I can see three different types of composers in musical history,
[06:08.43] 在音乐史上我们可以看到三类型的作曲家,
[06:11.07]each of whom creates music in a some what different fashion.
[06:13.55]每种作曲家都以不同的风格创作音乐.
[06:16.03]The type that has fired public imagination most
[06:20.40]is that of the spontaneously inspired composer--
[06:22.73] 最能激发公众想象力的是那种即兴灵感型作曲家
[06:25.07]the Franz Schubert type,in other words.
[06:27.25]---换句话说,即弗朗诵兹.舒伯特型.
[06:29.43]All composers are inspired,of course,
[06:31.46]所有作曲家都具有灵感,
[06:33.48]but this type is more spontaneously inspired.
[06:35.66]但这种子选手类型的更具有即兴灵感.
[06:37.84]Music simply wells out of him.
[06:39.73]音乐科就是从他心中喷涌而出.
[06:41.61]He can't get it down on paper fast enough.
[06:43.49]他不能以尽快的速度记录在纸上.
[06:45.37]You can almost tell this type of composer by his fruitful output.
[06:48.31]你几乎通过他多产的作品就可以认出这种作曲家.
[06:51.25]In certain months,Schubert wrote a song a day Hugo Wolf did the same
[06:54.77]在几个月进而,舒伯特一天写一首歌曲,胡弋.活尔夫也是这样.
[06:58.30]In a sense,men of this kind begin not so much with a musical theme composition.
[07:02.02]在某种意义上说,这些作曲家与其说是从某一音乐主题开始构思,不如说他们一开始就有一完整作品成竹在胸.
[07:05.74]They invariably work best in the shorter forms.
[07:08.07]他们在较短形式的音乐方面一直做得最好.
[07:10.39]It is much easier lo improvise a song'than it is to improvise a symphony
[07:13.52]即兴创作一首歌曲比即兴创作一部交响乐要简单得多.
[07:16.64]It isn't easy to be inspired in that spontaneous way for long periods at a stretch
[07:20.11]边疆不断地以这种子选手即兴方式获得灵感是不容易的.
[07:23.59]Even Schubert was more successful in handling the shorter form of music
[07:26.47]舒伯特在创作这些较短形式的单薄方面是更大为成功的.
[07:29.36]The spontaneously inspired man
[07:33.20]is only one type of composer with his own limitations.
[07:35.84]即兴灵感型作家只是一种类型的作曲家,有他自身的局限性.
[07:38.48]Beethoven belongs to the second type-the constructive type one might call it.
[07:41.65] 贝多芬属于第二种类型---人们可以称之为富有建设性的类型.
[07:44.82]This type serves as an example of my theory
[07:46.94]这种类型的作曲家比任何其他类型
[07:49.05]of the creative process in music better than any other,
[07:51.54]更适合作为我的音乐创造过程理论的例证,
[07:54.02]because in this case the composer really does begin with a musical theme
[07:57.05]因为这类例子中的作曲家确实从音乐主题开始创作.
[08:00.08]in Beethoven's case there is no doubt about it
[08:02.26]以贝多芬为例,关于这点勿庸置疑,
[08:04.44]for we have the notebooks in which he put the themes down.
[08:06.82]因为我们有他记下主题的笔记本.
[08:09.20]We can see from his notebooks how he worked over his themes
[08:11.62]从他的笔记中我们可以看到,他是如何在他的音乐主题上下功夫的
[08:14.05]how he would not let them be until they were as perfect as he could make them.
[08:16.93]--他不做到使之完美无缺绝不罢休.
[08:19.80]Beethoven was not a spontaneously inspired composer in the Schubert sense at all
[08:23.08]贝多芬完全不是舒伯特那种意义上的即兴灵感型作曲家.
[08:26.36]He was the type that begins with a theme makes it a preliminary idea;
[08:29.39]他是那种从一个主题开始作曲的类型,把主题作为初步的想法.
[08:32.42]and upon that composes a musical work,day after day,in painstaking fashion.
[08:36.00]在此基础上,日日苦干,谱写出音乐作品来.
[08:39.58]Most composers since Beethoven's day belong to this second type.
[08:42.45]贝多芬时代以来的多数作曲家属于第二种类型.
[08:45.32]The third type of composer I can only call,
[08:47.39]因为没有更好的名字,第三类作曲家
[08:49.45]for lack of a better name the traditionalist type.
[08:52.09]我只能称之为传统主义类型.
[08:54.73]Men like Palestrina and Bach belong in this category.
[08:57.51]像帕莱斯特里纳和巴赫这些人属于这种类型.
[09:00.29]They both are characteristic of the kind of composer
[09:04.65]who is bom in a particular period of musical history,
[09:07.19]他们都具有生于音乐史上的特殊时期,
[09:09.72]when a certain musical style is about to reach its fullest development
[09:12.45]即某种音乐风格即将达到其鼎盛时期的那种作曲家的特点.
[09:15.18]It is a question at such a time
[09:18.94]of creating music in a well-known and accepted style
[09:21.28]在那样一个以一种众所周知并广为接受的风格创作音乐的年代,
[09:23.62]and doing it in a way that is better than anyone has done it before you.
[09:26.35]要以一种比前人更好的形式创作音乐是很难的.
[09:29.08]The traditionalist type of composer
[09:32.73]begins with a pattern rather than with a theme.
[09:35.06] 传统类型的作曲家从一种模式而不是一个主题开始创作.
[09:37.38]The creative act with Palestrina is not the thematic conception
[09:40.27]帕莱斯特里纳的创作行为并非针对主题的概念,
[09:43.16]so much as the personal treatment of a well-established pattern.
[09:45.80]只不过是对固定下来的模式进行个人处理.
[09:48.43]And even Bach,who composed forty-eight of the most various and inspired
[09:55.38]themes in his Well Tempered Clavichord,
[09:57.37]甚至巴赫,他在他的<平均律钢琴曲集>中谱写了48首各具特色鼓舞人心的主题曲,
[09:59.35]knew in advance the general formal mold that they were to fill
[10:02.02]也事先知道这些主题曲要填入的一般正式的模式.
[10:04.68]It goes without saying
[10:06.20]不用说,
[10:07.71]that we are not living in a tradition alist period nowadays.
[10:10.19]我们现在已不是生活在传统时期.
[10:12.68]One might add, for the sake of completeness,
[10:14.95] 为了全面起见,
[10:17.22]a fourth type of composerthe pioneer type:
[10:19.81]还应加上第四作曲家
[10:22.39]men like Gesualdo in the seventeenth century
[10:24.67]---先锋型:像片17世纪的杰苏尔多,
[10:26.94]Moussorgsky and Berlioz in the nineteenth,
[10:29.32]19世纪的穆索尔斯基和柏辽兹,
[10:31.69]Debussy and Edgar Varese in the twentieth.
[10:34.33]20世纪的德彪西和埃德加.瓦雷兹这些人.
[10:36.97]It is difficult to summarize the composing methods of so diversified a group
[10:39.75]概括如此多样化的一群作曲家的作曲方法很困难.
[10:42.53]One can safely say that their approach to composition
[10:44.87]他们的写作方法确实
[10:47.21]is the opposite of the traditional list type.
[10:49.18]不同于传统的模式写作法。
[10:51.15]They clearly oppose conventional solutions of musical problems
[10:53.79]他们明确反对对音乐问题的传统的解决办法.
[10:56.43]In many ways,their attitude is experimental
[10:58.86]从许多工作方面说.他们的态度是试验性的
[11:01.29]they seek to add new harmonies,new sonorities,new formal principles.
[11:04.76]他们寻求增加新的和声,新的音色,新形式的原则.
[11:08.24]The pioneer type was the characteristic one at the turn of the seventeenth century
[11:14.01]and also at the beginning of the twentieth century,
[11:16.28]先锋弄是17世纪前后和20世纪初特有的类型,
[11:18.56]but it is much less evident today.
[11:20.39]但现在不太明显了.
[00:03.24]新音乐
[00:06.48]The new music was built out of materials already in existence:
[00:09.76] 新音乐是基于已有的三种音乐:
[00:13.04]blues, rock'n'roll, folk music.
[00:15.56]布鲁斯,摇滚乐,民间音乐发展起来的.
[00:18.08]But although the forms remained,
[00:20.11]但是虽然这些形式依然保留着,
[00:22.15]something completely new and original was made out of these older elements
[00:25.78]一些全新的富有创造性的东西从这些旧音乐中产生了
[00:29.41]more original,perhaps,than even the new musicians themselves yet realize.
[00:33.49]---也许比新音乐家们所意识到更大具创造性.
[00:37.56]The transformation took place in 1966-1967.
[00:41.64]这种变化发生于1966年到1967年之间.
[00:45.71]Up to that time,the blues had been an essentially black medium.
[00:48.99]一直到那个时候,布鲁斯一直是一种基本的黑人艺术表现形式.
[00:52.27]Rock 'n' roll,a blues derivative,was rhythmic dance music.
[00:55.39]摇滚乐,衍生于布鲁斯,是有节奏的舞曲.
[00:58.51]Folk music,old and modern,was popular among college students
[01:02.09]民间音乐,无论旧的或者现代的,在大学生中都很流行.
[01:05.67]The three forms remained,musically and culturally distinct,
[01:08.86]这三种形式保留着音乐和文化方面的特色,
[01:12.05]and even as late as 1965,
[01:14.57]甚至到1965年,
[01:17.09]none of them were expressing any radically new states of consciousness
[01:19.87]这三种音乐没有一种表达出任何激进的新的意识形态.
[01:22.65]Blues expressed black soul;rock was the beat of youthful energy;
[01:26.53]布鲁斯表达黑人的情感;摇滚乐是青春活力的跳动;
[01:30.41]and folk music expressed anti-war sentiments as well as love and hope.
[01:33.99]民间音乐表达反战情绪,爱和恨.
[01:37.57] In 1966--1967 there was spontaneous transformation.
[01:42.00] 1966-1967年之间发生了自然的转化.
[01:46.42]In the United States,it originated with youthful rock groups
[01:52.77]playing in San Francisco.
[01:54.95]在美国,变化起源于在圣.弗兰西斯科(旧金山)表演的青年摇滚组合.
[01:57.13]In England,it was led by the Beatles
[01:59.42]在英国,则是由甲壳虫乐队(披头士摇滚乐队)带头,
[02:01.70]who were already established as an extremely fine
[02:07.56]and highly individual rock group.
[02:09.48]他们已确立了非常优秀,极有特色的摇滚组合.
[02:11.40]What happened,as well as it can be put into words, was this.
[02:14.52]所发生的情况,如果用言语尽可能表达出来是这样的.
[02:17.64]First,the separate musical traditions were brought together.
[02:20.88]首先独立的音乐传统被融合在一起.
[02:24.12]Bob Dylan and the Jefferson Airplane
[02:26.25]鲍伯.锹伦和杰弗逊飞机乐队演出民间摇滚乐,
[02:28.38]played folk rock folk ideas with a rock beat.
[02:31.55]民间音乐的思想伴以摇滚乐的节拍.
[02:34.72]White rock groups began experimenting with the blues.
[02:37.60]白人摇滚组合浓度使用布鲁斯.
[02:40.47]Of course white musicians had always played the blues,
[02:43.25]当然,白人音乐家早已演奏布鲁斯,
[02:46.03]but essentially as imitators of the Negro style;
[02:48.67]但基本上对黑人风格的模仿,
[02:51.31]now it began to be the white bands' own music.
[02:53.99]现在已经开始成为白人乐队自己的音乐.
[02:56.67]And all of the groups moved towards a broader eclecticism and synthesis
[03:00.60]所有的组合都走向更大广泛的折衷和合成.
[03:04.53]They freely took over elements from jazz,from American country music,
[03:07.91]他们自由吸取爵士乐和美国乡村音乐的成分,
[03:11.29]and as time went on from even more diverse sources.
[03:14.42]随着时间的推移甚至从更多的来源中吸取营养.
[03:17.54]What developed was a music readily taking on various forms and capable
[03:21.12]音乐很快地发展成为具有多种形式,
[03:24.70] of an almost limitless range of expression.
[03:27.52]并且几乎具有无限的表达力.
[03:30.34] The second thing that happened
[03:32.31]发生的第二种情况是
[03:34.28]was that all the musical groups began using the full range of electric instruments
[03:38.06]所有音乐组合开始使用整套电声乐器
[03:41.83]and the technology of electronic amplifiers.
[03:44.50]和电子放大器技术.
[03:47.16]The electric guitar was an old instrument,
[03:49.69]电吉他是一种旧乐器,
[03:52.23]but the new electronic effects were altogether different
[03:55.15]但新吉他的电子效果完全不同了
[03:58.08]so different that a new listener in 1967 might well feel
[04:01.20]---1967年的一位新听众可能真的感觉到
[04:04.32]that there had never been any sounds like that in the world before.
[04:07.50]世界上前所未有的声音.
[04:10.67]Electronics did,in fact,
[04:12.71]事实上,电子学的确可以
[04:14.75]make possible soundsthat no instrument up to that time could produce.
[04:18.17]制作出直到那时为止乐器所发不出的声音.
[04:21.59]And in studio recordings,new techniques made possible effects that not even an electronic band could produce live.
[04:26.78]在录音室录制时,新技术有可能制作出甚至电子乐队在表演现场都演奏不出的效果.
[04:31.96]Electronic amplifiers also made possible a fantastic increase in volume
[04:35.68]电子放大器也使得在音量方面能够有意想不到的增高.
[04:39.41]the music becoming as loud and penetrating as the human ear could stand,
[04:43.04]音乐在人类耳朵所能随范围内变得响亮,具穿透力,
[04:46.67]and thereby achieving a "total"effect
[04:49.19]由此达到了一种完美的效果.
[04:51.71]so that instead of an audience of passive listeners
[04:54.60]所以听众已不是被动的听众,
[04:57.48]there were now audiences of total participants
[05:00.56]现在的听众是完全投入的听众,
[05:03.65]feeling the music in all of their senses and all of their bones.
[05:07.67]他们全身心感觉着音乐.
[05:11.69]Third,the music becomes a multi--media experience a part of a total environment.
[05:16.63] 第三点,音乐成为一种多媒体的感受,成为整修环境中的一部分.
[05:21.57]The walls of the ballrooms were covered with changing patterns of light
[05:24.95]舞厅的墙上闪着形式变幻的灯光,
[05:28.33]the beginning of the new art of the light show.
[05:31.36]成为灯泡表演这门新技术的开始.
[05:34.39]And the audience did not sit, it danced.
[05:37.21]观众不是坐着听,他们在跳舞.
[05:40.04]With records at home,listeners imitated these lighting effects as best they could,
[05:43.67]家里有了唱盘,听众尽力模仿舞厅灯光效果,
[05:47.30]and heightened the whole experience by using drugs.
[05:50.24]并通过使用药物以加强整体感受.
[05:53.18]Often music was played out of doors,where nature provided the environment.
[05:56.90]音乐还常在以大自然为环境的户外演奏.
[06:00.62]Text B Different Types of Composers
[06:03.21]不同类型的作曲家
[06:05.79]I can see three different types of composers in musical history,
[06:08.43] 在音乐史上我们可以看到三类型的作曲家,
[06:11.07]each of whom creates music in a some what different fashion.
[06:13.55]每种作曲家都以不同的风格创作音乐.
[06:16.03]The type that has fired public imagination most
[06:20.40]is that of the spontaneously inspired composer--
[06:22.73] 最能激发公众想象力的是那种即兴灵感型作曲家
[06:25.07]the Franz Schubert type,in other words.
[06:27.25]---换句话说,即弗朗诵兹.舒伯特型.
[06:29.43]All composers are inspired,of course,
[06:31.46]所有作曲家都具有灵感,
[06:33.48]but this type is more spontaneously inspired.
[06:35.66]但这种子选手类型的更具有即兴灵感.
[06:37.84]Music simply wells out of him.
[06:39.73]音乐科就是从他心中喷涌而出.
[06:41.61]He can't get it down on paper fast enough.
[06:43.49]他不能以尽快的速度记录在纸上.
[06:45.37]You can almost tell this type of composer by his fruitful output.
[06:48.31]你几乎通过他多产的作品就可以认出这种作曲家.
[06:51.25]In certain months,Schubert wrote a song a day Hugo Wolf did the same
[06:54.77]在几个月进而,舒伯特一天写一首歌曲,胡弋.活尔夫也是这样.
[06:58.30]In a sense,men of this kind begin not so much with a musical theme composition.
[07:02.02]在某种意义上说,这些作曲家与其说是从某一音乐主题开始构思,不如说他们一开始就有一完整作品成竹在胸.
[07:05.74]They invariably work best in the shorter forms.
[07:08.07]他们在较短形式的音乐方面一直做得最好.
[07:10.39]It is much easier lo improvise a song'than it is to improvise a symphony
[07:13.52]即兴创作一首歌曲比即兴创作一部交响乐要简单得多.
[07:16.64]It isn't easy to be inspired in that spontaneous way for long periods at a stretch
[07:20.11]边疆不断地以这种子选手即兴方式获得灵感是不容易的.
[07:23.59]Even Schubert was more successful in handling the shorter form of music
[07:26.47]舒伯特在创作这些较短形式的单薄方面是更大为成功的.
[07:29.36]The spontaneously inspired man
[07:33.20]is only one type of composer with his own limitations.
[07:35.84]即兴灵感型作家只是一种类型的作曲家,有他自身的局限性.
[07:38.48]Beethoven belongs to the second type-the constructive type one might call it.
[07:41.65] 贝多芬属于第二种类型---人们可以称之为富有建设性的类型.
[07:44.82]This type serves as an example of my theory
[07:46.94]这种类型的作曲家比任何其他类型
[07:49.05]of the creative process in music better than any other,
[07:51.54]更适合作为我的音乐创造过程理论的例证,
[07:54.02]because in this case the composer really does begin with a musical theme
[07:57.05]因为这类例子中的作曲家确实从音乐主题开始创作.
[08:00.08]in Beethoven's case there is no doubt about it
[08:02.26]以贝多芬为例,关于这点勿庸置疑,
[08:04.44]for we have the notebooks in which he put the themes down.
[08:06.82]因为我们有他记下主题的笔记本.
[08:09.20]We can see from his notebooks how he worked over his themes
[08:11.62]从他的笔记中我们可以看到,他是如何在他的音乐主题上下功夫的
[08:14.05]how he would not let them be until they were as perfect as he could make them.
[08:16.93]--他不做到使之完美无缺绝不罢休.
[08:19.80]Beethoven was not a spontaneously inspired composer in the Schubert sense at all
[08:23.08]贝多芬完全不是舒伯特那种意义上的即兴灵感型作曲家.
[08:26.36]He was the type that begins with a theme makes it a preliminary idea;
[08:29.39]他是那种从一个主题开始作曲的类型,把主题作为初步的想法.
[08:32.42]and upon that composes a musical work,day after day,in painstaking fashion.
[08:36.00]在此基础上,日日苦干,谱写出音乐作品来.
[08:39.58]Most composers since Beethoven's day belong to this second type.
[08:42.45]贝多芬时代以来的多数作曲家属于第二种类型.
[08:45.32]The third type of composer I can only call,
[08:47.39]因为没有更好的名字,第三类作曲家
[08:49.45]for lack of a better name the traditionalist type.
[08:52.09]我只能称之为传统主义类型.
[08:54.73]Men like Palestrina and Bach belong in this category.
[08:57.51]像帕莱斯特里纳和巴赫这些人属于这种类型.
[09:00.29]They both are characteristic of the kind of composer
[09:04.65]who is bom in a particular period of musical history,
[09:07.19]他们都具有生于音乐史上的特殊时期,
[09:09.72]when a certain musical style is about to reach its fullest development
[09:12.45]即某种音乐风格即将达到其鼎盛时期的那种作曲家的特点.
[09:15.18]It is a question at such a time
[09:18.94]of creating music in a well-known and accepted style
[09:21.28]在那样一个以一种众所周知并广为接受的风格创作音乐的年代,
[09:23.62]and doing it in a way that is better than anyone has done it before you.
[09:26.35]要以一种比前人更好的形式创作音乐是很难的.
[09:29.08]The traditionalist type of composer
[09:32.73]begins with a pattern rather than with a theme.
[09:35.06] 传统类型的作曲家从一种模式而不是一个主题开始创作.
[09:37.38]The creative act with Palestrina is not the thematic conception
[09:40.27]帕莱斯特里纳的创作行为并非针对主题的概念,
[09:43.16]so much as the personal treatment of a well-established pattern.
[09:45.80]只不过是对固定下来的模式进行个人处理.
[09:48.43]And even Bach,who composed forty-eight of the most various and inspired
[09:55.38]themes in his Well Tempered Clavichord,
[09:57.37]甚至巴赫,他在他的<平均律钢琴曲集>中谱写了48首各具特色鼓舞人心的主题曲,
[09:59.35]knew in advance the general formal mold that they were to fill
[10:02.02]也事先知道这些主题曲要填入的一般正式的模式.
[10:04.68]It goes without saying
[10:06.20]不用说,
[10:07.71]that we are not living in a tradition alist period nowadays.
[10:10.19]我们现在已不是生活在传统时期.
[10:12.68]One might add, for the sake of completeness,
[10:14.95] 为了全面起见,
[10:17.22]a fourth type of composerthe pioneer type:
[10:19.81]还应加上第四作曲家
[10:22.39]men like Gesualdo in the seventeenth century
[10:24.67]---先锋型:像片17世纪的杰苏尔多,
[10:26.94]Moussorgsky and Berlioz in the nineteenth,
[10:29.32]19世纪的穆索尔斯基和柏辽兹,
[10:31.69]Debussy and Edgar Varese in the twentieth.
[10:34.33]20世纪的德彪西和埃德加.瓦雷兹这些人.
[10:36.97]It is difficult to summarize the composing methods of so diversified a group
[10:39.75]概括如此多样化的一群作曲家的作曲方法很困难.
[10:42.53]One can safely say that their approach to composition
[10:44.87]他们的写作方法确实
[10:47.21]is the opposite of the traditional list type.
[10:49.18]不同于传统的模式写作法。
[10:51.15]They clearly oppose conventional solutions of musical problems
[10:53.79]他们明确反对对音乐问题的传统的解决办法.
[10:56.43]In many ways,their attitude is experimental
[10:58.86]从许多工作方面说.他们的态度是试验性的
[11:01.29]they seek to add new harmonies,new sonorities,new formal principles.
[11:04.76]他们寻求增加新的和声,新的音色,新形式的原则.
[11:08.24]The pioneer type was the characteristic one at the turn of the seventeenth century
[11:14.01]and also at the beginning of the twentieth century,
[11:16.28]先锋弄是17世纪前后和20世纪初特有的类型,
[11:18.56]but it is much less evident today.
[11:20.39]但现在不太明显了.
