E. T. A. HOFFMANN AND THE ETHEREAL TECHNOLOGIES OF ‘NATURE MUSIC’
E. T. A. HOFFMANN AND THE ETHEREAL TECHNOLOGIES OF ‘NATURE MUSIC’
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E.T.A.霍夫曼和“自然音乐”的空灵技术
DOI：
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发表时间：
2008
影响因子：
0.1
通讯作者：
Emily I. Dolan
中科院分区：
文献类型：
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作者：
Emily I. Dolan
1814年，E. T. A.霍夫曼出版了他的短篇小说《自动机》。故事讲述了两个朋友和一个算命机器人土耳其人的交易，土耳其人的预言似乎揭示了一种超自然的心理能力。虽然这个故事最早出现在Allegemeine musikalische Zeitung，但它大多被音乐学者所忽视。除了涉及人工智能的冗长段落外，故事还包括对音乐表演和乐器的广泛讨论。他们所讨论的工具--能够发出自然之声的机器--也许看起来像是霍夫曼想象力的幻想创造。然而，他指的是在18世纪末和19世纪初的音乐文化中扮演既定角色的真实的乐器。这一时期出现了许多新奇奇异的乐器的疯狂生产，如eufon，aiuton，aenomochord，xänorphica和口琴。虽然这些乐器今天几乎被遗忘，但它们证明了人们对音色和乐器响亮度的广泛关注。在世纪，管弦乐队作为一个概念、音乐团体和机构的巩固与个人乐器声音具有独特的表现特征的概念齐头并进。到了世纪早期，这一思想表现为两种截然不同的传统：一个是管弦乐，作曲家越来越多地利用不断增长的乐器调色板，从而产生了管弦乐和浪漫交响乐的现代概念，另一个是乐器导向的，音乐家，科学家和发明家试图用专门设计的乐器来捕捉“理想的声音”（通常是类似人声的音色）。这些创作提供了一个时期的理想主义美学和音乐实践之间缺失的环节。虽然最终短暂，他们代表了一种“绝对”的音乐，纯粹是建立在空灵的声音，而不是在音乐形式主义。
ABSTRACT In 1814, E. T. A. Hoffmann published his short story, Die Automate. The story concerns the dealings of two friends and a fortune-telling automaton, the Turk, whose prophetic utterances seem to reveal a supernatural and psychic ability. Although the story first appeared in the Allegemeine musikalische Zeitung, it has been mostly overlooked by music scholars. In addition to the lengthy passages dealing with artificial intelligence, the story includes an extensive discussion of music performance and music instruments. The instruments they discuss – machines capable of bringing forth the voice of nature – perhaps appear as fantastical creations of Hoffmann’s imagination. However, he refers to real instruments that played an established role in late eighteenth- and early nineteenth-century musical culture. This period saw the frenzied production of many novel and bizarre instruments such as the euphon, aiuton, aenomochord, xänorphica and the harmonichord. Though these instruments are all but forgotten today, they testify to a widespread preoccupation with timbre and instrumental sonority. The consolidation of the orchestra as a concept, musical body and institution in the eighteenth century went hand in hand with the notion that individual instrumental sonorities had distinct expressive characters. By the early nineteenth century, this idea manifested itself in two distinct traditions: an orchestral one, in which composers increasingly took advantage of the ever-growing palette of instruments, giving rise to the modern concept of orchestration and the romantic symphony, and an instrument-oriented one, in which musicians, scientists and inventors attempted to capture ‘ideal sonorities’ (usually timbres resembling the human voice) in specially designed instruments. These creations offer a missing link between idealist aesthetics of the period and musical practice. Though ultimately ephemeral, they represent a kind of ‘absolute’ music that was founded purely in ethereal sonorities rather than in musical formalism.