The Impress of Personality in Unwritten Music
The Impress of Personality in Unwritten Music
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不成文的音乐中的个性印记
DOI：
10.1093/mq/i.3.416
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发表时间：
1915
期刊：
影响因子：
--
通讯作者：
P. Grainger
中科院分区：
文献类型：
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作者：
P. Grainger
对不成文音乐（无论是欧洲或非裔美国的民间歌曲和舞蹈，还是来自全球任何地方的本土音乐）的兴趣显然并不是源于对我们书面艺术音乐的最新反传统发展的任何反应，而是相反，它主要存在于最有教养的音乐家的行列中（这些人的心灵和大脑的深度使他们同样能够欣赏伟大经典的辉煌创作和同样令人兴奋的成就）当今最极端的现代主义者），我们对这场“回归土地”运动表现出最浓厚的兴趣。在那些最近最热衷于实际收集各种所谓“原始”音乐的人中，或者在他们的创作中直接或间接接触已被证明是最富有成果的人中，我们发现了诸如斯特拉文斯基、德彪西、拉威尔、阿尔贝尼兹、格拉纳多斯、西里尔·斯科特、沃恩·威廉姆斯、巴尔福·加德纳和费鲁西奥·布索尼等先进作曲家的名字，而伟大的弗雷德里克·戴利乌斯（在我看来也许是最稀有和最珍贵的）我们这个时代的音乐天才）他成为一名作曲家的事实完全归功于他在父亲佛罗里达种植园里听到黑人工人唱歌所获得的灵感，这使他决定放弃商业生涯去莱比锡学习音乐；他以自己最可爱的三部作品为基础，以“原始”起源为主题，恰如其分地偿还了对不成文音乐的亏欠：《阿巴拉契亚》是一首美国黑人曲调，《布里格集市》是我收藏的同名英国农歌，而他最近的《听到春天的第一声布谷鸟》是挪威歌曲《I Ola Dalom》（出版于格里格作品66）。 1913 年 2 月，俄罗斯和其他现代音乐的冠军库尔特·辛德勒 (Kurt Schindler) 先生在《北美评论》上发表了一篇关于“鲍里斯·戈杜诺夫和穆索尔斯基的一生”的文章，文章充满了洞察力和罕见的理解，我们了解到这位作曲家的艺术创作在很大程度上归功于与俄罗斯农民的生活和音乐的密切接触。
interest in unwritten music (be it European or Afro-American folk-songs and dances or native music from any quarter of the globe) apparently does not emanate from any reaction against the late?t iconoclastic developments of our written art-music, but that, on the contrary, it is mainly in the ranks of the most highly cultured musicians (men whose depth of heart and brain makes them equally capable of appreciating the glorious creations of the great classics and the no less thrilling achievements of the most extreme modernists of to-day) that we meet with the keenest interest in this "back to the land" movement. Among those who have recently devoted themselves most ardently to the labor of actually collecting so-called "primitive" music of various kinds or in whose creative work direct or indirect contact with it has proved the most fruitful we find the names of such advanced composers as Stravinsky, Debussy, Ravel, Albeniz, Granados, Cyril Scott, Vaughan Williams, Balfour Gardiner and Ferruccio Busoni, while the great Frederick Delius (to my mind perhaps the rarest and most precious musical genius of our age) owes the fact of his becoming a composer at all to the inspiration he received from hearing Negro workers sing on his father's plantation in Florida, which determined him to give up a commercial career in order to study music in Leipzig; a debt to unwritten music that he has fittingly repayed by basing three of his loveliest works on themes of "primitive" origin: "Appalachia," on a Negro-American tune, "Brigg Fair" on the English peasant song of that name from my collection, and his recent "On hearing the first cuckoo in spring" on the Norwegian "I Ola Dalom "(published in Grieg's Op. 66). In an essay in "The North American Review" for February, 1913, full of insight and rare understanding, by that champion of Russian and other modern music, Mr. Kurt Schindler, on "Boris Godounoff; and the life of Moussorgsky," we read how incalculably much the inspired art of that composer owed to close contact with both the life and the music of Russian peasants.