Musical Aesthetic Thoughts on Performance : Contrapuntal Visions on the Music Interpretation in the 20^<th> Century

在20世纪20年代的《新音乐》(Neue Musik)和《新客观性》(Neue Sachlichkeit)中，线性一词被用作著名的口号。值得注意的是，主张调性音乐的能量学家和否认调性音乐的新音乐和新客观性的理论家和表演家得出了同样的结论，强调了“(线性)对位”的重要性，例如，尽管能量学家海因里希·申克和阿诺德·勋伯格之间关于“和谐”的争论可以被认为是保守和进步之间的争论，他们都认为音乐表演中的对位视觉和解释是扭转理查德·瓦格纳带来的那个时期音乐衰落的不可或缺的。格伦·古尔德非常欣赏勋伯格的音乐，这是非常值得注意的。古尔德在他的散文和表演实践中对对位视觉的强调显然受到了勋伯格的影响。此外，还有很多S的…古尔德的音乐表演美学和申克的音乐理论之间有更多的相似之处，源于歌德的有机体美学。通过阿图尔·施纳贝尔，古尔德也深受19世纪自主音乐美学的影响。古尔德基于对位视觉的解释可以被认为是对调性音乐的敬意，因为勋伯格的十二音技巧并不是对调性音乐的拒绝，而是对调性音乐的重组，其目的是捍卫西方艺术音乐的传统。威廉·弗特瓦恩格勒非常推崇申克的音乐理论，乍一看，弗特瓦恩格勒对音乐的解释是如此浪漫，以至于似乎与古尔德的现代解释相反。然而，两人都使用了相似的音乐分析方法来解释音乐《杰作》中的结构。弗特文格勒和古尔德都把基于音乐分析的“大跨度听觉”视为一种接近音乐杰作本质结构的方法。因此，这种“大跨度的听觉”与他们在表演中的对位视觉有关。较少

The term "linear" was used as a famous slogan in "New Music" (Neue Musik) and "New Objectivity" (Neue Sachlichkeit) in the 1920s. It is important to note that the energeticians who advocated tonal music and theoreticians and performers advocate of New Music and New Objectivity who denied tonal music arrived at the same conclusion that emphasized the significance of "(linear) counterpoint" For instance, although the polemic about "Harmony" between Heinrich Schenker, an energetician, and Arnold Schoenberg could be regarded as one between the conservative and the progressive, both of them considered contrapuntal visions in musical performances and interpretations as indispensable in reversing the decline in that period's music which had been brought about by Richard Wagner. It is very noteworthy that Glenn Gould admired Schoenberg's music. Gould's emphasis on contrapuntal visions in his essays and performance practices were obviously influenced by Schoenberg. Furthermore, there are many s … More triking resemblances between Gould's aesthetics of musical performance and Schenker's music theory, derived from Goethe's aesthetics of organism. Via Artur Schnabel, Gould also was greatly influenced by the autonomous musical aesthetics in the 19^<th> century. Gould's interpretation based on contrapuntal visions could be considered an homage to tonal music, as Schoenberg's twelve-tone technique was not a rejection rather a restructuring of tonal music whose purpose was to defend the tradition of Western art music. Wilhelm Furtwaengler had a great esteem for Schenker's music theory and, at a glance, Furtwaengler's musical interpretations were so romantic that they appeared to be the opposite of Gould's modern interpretation. However, both used similar methods of music analysis to interpret "structures" in musical "masterpieces". Both Furtwaengler and Gould saw "long-span hearing" based on music analysis as a way to approach the essential structures of musical masterpieces. Consequently, this "long-span hearing" is connected with their contrapuntal visions in performance. Less