权益分类	功能权益	普通用户	{{item.name}}会员
{{category.name}}	{{benefitItem.name}}

Delius, Modernism, and the Sound of Place

戴留斯、现代主义和地方之声

基本信息

批准号：
AH/M00659X/1
负责人：
Daniel Grimley
金额：
$ 20.2万
依托单位：
University of Oxford
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2015
资助国家：
英国
起止时间：
2015 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FM00659X%2F1
关键词：
Delius Modernism Sound Place

项目摘要

Frederick Delius is among the most powerfully evocative and inventive voices in early twentieth-century music. Critical appreciation of his achievement, however, has been stubbornly unforthcoming in the wider academic field: there is still no authoritative scholarly biography of the composer, and analytical accounts of Delius's music remain at a preliminary stage, especially when placed alongside coverage for other comparably significant musical figures. Given recent events following his anniversary year in 2012 (including John Bridcut's acclaimed documentary for BBC4, and a 2-day conference devoted to his work run by the Delius Society), the time is ripe for an urgent re-evaluation of Delius's music, reflecting upon his wider significance as an internationally-oriented creative figure writing at a crucial moment in the emergence of a complex and multivalent musical modernism. The critical reception of some of Delius's most popular works, such as 'On Hearing the First Cuckoo in Spring', has often inadvertently perpetuated the idea of rhapsodist whose apparent lack of strong formal structure and rich late romantic harmonic syntax seemingly place him at odds with more supposedly progressive trends in continental European music. Systematic attention to Delius's biography and critical consideration of his major works, however, swiftly suggests a more dynamic and challenging musical idiom, and a keen sense of musical architecture. Contemplating Delius's work furthermore challenges our understanding of the relationship between music and place. Delius spent key parts of his professional career in Florida, Scandinavia, Germany, and France, and thinking more rigorously through the diverse spaces and places of his compositional development through the close reading of selected key works reveals a richly multilayered sense of musical identity. Delius thus destabilises familiar narratives of musical place. By drawing on more theoretically grounded models from recent writing in Cultural Geography, I will argue that Delius's music profoundly re-centres our understanding of place in music, not as a fixed or reductive category, but rather through a process of flux or drift--one that enables us to recontextualise his work within a more genuinely critical framework and to attend to his music's diverse subjectivities in a more sophisticated way.Engaging in greater detail with Delius's work thus has important implications, both, at a music-technical level, for understanding why he was so influential upon early twentieth-century music, and, more figuratively, for challenging and elevating our sense of the complex relationships between music, place, and identity. Though Delius's musical cosmopolitanism is always inevitably bound up with an experience of absence and loss, critical contemplation of his work can only enrich our appreciation of the ways in which certain kinds of music--particular turns or phrase, gestures, or shapes--can invoke specific states of mind or senses of being-in-place. 'Delius and the Sound of Place' hence becomes, in essence, an analytical exercise in musical phenomenology. It is simultaneously, however, a tightly source-based historical-contextual study in representation and reception that will provide its own interpretative insights into an especially complex moment of musical creativity and expression.

弗雷德里克·德利乌斯是二十世纪早期音乐中最具感召力和创造力的声音之一。然而，在更广泛的学术领域，对他的成就的批判性评价一直顽固地不为人知：仍然没有关于这位作曲家的权威学术传记，对德利乌斯音乐的分析仍然处于初级阶段，特别是当与其他重要音乐人物的报道放在一起时。2012年是他的周年纪念日（包括John Bridcut为BBC 4制作的广受好评的纪录片，以及Delius Society举办的为期两天的会议），现在是时候重新评估Delius的音乐，反思他作为一个国际化的创造性人物在复杂和多价值的音乐现代主义出现的关键时刻的更广泛的意义。对戴留斯一些最受欢迎的作品，如《春天里听到第一只布谷鸟》的评论接受，往往在不经意间延续了狂想曲家的想法，他明显缺乏强大的形式结构和丰富的晚期浪漫主义和声句法，似乎使他与欧洲大陆音乐中更被认为是进步的趋势不一致。然而，系统地关注Delius的传记和对他主要作品的批判性考虑，迅速表明了一种更具活力和挑战性的音乐风格，以及对音乐建筑的敏锐感觉。思考Delius的作品进一步挑战了我们对音乐和场所之间关系的理解。Delius在佛罗里达、斯堪的纳维亚、德国和法国度过了他职业生涯的关键部分，通过对精选的关键作品的仔细阅读，更严格地思考他作曲发展的不同空间和地点，揭示了一种丰富的多层次的音乐认同感。因此，德利乌斯动摇了熟悉的音乐场所的叙述。通过借鉴最近在《文化地理》中所写的更具理论基础的模型，我认为Delius的音乐深刻地重新集中了我们对音乐中位置的理解，而不是作为一个固定或还原的类别，而是通过一个流动或漂移的过程--一个使我们能够在一个更真正的批判框架内重新审视他的作品，并在一个更复杂的因此，更详细地了解戴留斯的作品具有重要的意义，无论是在音乐技术层面上，理解为什么他对20世纪早期的音乐如此有影响力，还是更形象地说，挑战和提升我们对音乐，地方和身份之间复杂关系的认识。虽然戴流的音乐世界主义总是不可避免地与缺席和失落的经历联系在一起，但对他的作品进行批判性的思考只能丰富我们对某些类型的音乐--特定的转折或短语，手势或形状--可以唤起特定的精神状态或存在感的欣赏。因此，《戴流斯与场所之声》在本质上成为音乐现象学的一个分析练习。然而，它同时也是一个紧密基于来源的历史语境研究，在再现和接受方面，将为音乐创造力和表达的一个特别复杂的时刻提供自己的解释性见解。