Four-Hand Piano Transcription and Geographies of Nineteenth-Century Musical Reception
Four-Hand Piano Transcription and Geographies of Nineteenth-Century Musical Reception
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四手联弹钢琴改编与十九世纪音乐接受的地理
DOI：
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发表时间：
1999
期刊：
影响因子：
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通讯作者：
T. Christensen
中科院分区：
文献类型：
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作者：
T. Christensen
在整个世纪，大量的四手联弹钢琴曲几乎出版了每一个音乐流派。事实上，在收音机和留声机出现之前，没有任何其他媒介对音乐会和室内乐曲目的传播和可重复性如此重要。然而事实证明，这种转换绝不是一种无辜的翻译工具。不仅这些四手的安排提供了简化的传真大多数管弦乐作品漂白的器乐音色（这一结果经常被拿来与出版商在同一时期大量生产的许多再生版画和黑白白色石版画相提并论）;这种安排也动摇了交响乐和室内乐流派，专业和业余音乐文化，甚至是男性和女性的剧目。通过将音乐厅、歌剧院和沙龙等公共领域的音乐带入资产阶级家庭客厅的家庭空间，四手抄写深刻地改变了音乐作品的类属身份和随之而来的接受。
Throughout the nineteenth century, massive quantities of four-hand piano transcriptions were published of virtually every musical genre. Indeed, no other medium before the advent of the radio and phonograph was arguably so important for the dissemination and iterability of concert and chamber repertories. Yet such transcriptions proved to be anything but innocent vehicles of translation. Not only did these four-hand arrangements offer simplified facsimiles of most orchestral works blanched of their instrumental timbres (a result that was often compared to the many reproductive engravings and black-and-white lithographs of artworks that were churned out by publishers at the same time); such arrangements also destabilized traditional musical divisions between symphonic and chamber genres, professional and amateur music cultures, and even repertories gendered as masculine and feminine. By bringing music intended for the public sphere of the concert hall, opera house, and salon into the domestic space of the bourgeois home parlor, the four-hand transcription profoundly altered the generic identity and consequent reception of musical works.