Although the Aboriginal-derived titles and programmes of Peter Sculthorpe’s early music are well known, his works from the 1950s have been interpreted for the most part as landscape compositions or in relation to generalized notions of ‘Australian’ musical character. This article examines the work’s paratexts and Sculthorpe’s chronologically close statements to show that when the pieces were written he was less concerned with landscape than with achieving what he saw as a national character derived from connections between his music and Australian Aboriginal culture. Interpretation of Sculthorpe’s statements in the context of the abundant press coverage of John Antill’s Corroboree combined with analysis of musical topics and gestures in the Sonatina and Irkanda I reveals that sections of these early works are more representational than has previously been thought, and that these representations draw on the discourse of primitivism and the discourse of the folk. One facet of this involves the example of some of Bartók’s folk-derived modernist idioms which served Sculthorpe as a model. Since some of this music includes the first iterations of what became Sculthorpe’s characteristic harmonically static fast music, the interpretation of primitivism presented here has bearing on how we might understand the fast, percussive passages of his later work. Doubt is cast both on Sculthorpe’s claims of the formative influence of Aaron Copland’s music and on the idea that the slow melody of Irkanda I derived from Sculthorpe’s sketching of the landscape around Canberra. Newly accurate dating of the composition of the Sonatina and The Loneliness of Bunjil is given, as well as analysis of aspects of Irkanda I in terms of its early title, ‘Aboriginal Burial (Irkanda)’.

中文翻译：

---

“整个作品充满原始韵律”：彼得·斯考索普的民族音乐的民俗主义起源

尽管彼得·斯修索普（Peter Sculthorpe）早期音乐的土著名称和节目广为人知，但他1950年代的作品在很大程度上被解释为风景作品或与“澳大利亚”音乐性格的广义概念有关。本文考察了作品的寄生文字和Sculthorpe的时间顺序接近的陈述，以表明在创作这些作品时，他对风景的关注不如对音乐的了解，而不是因为他的音乐与澳大利亚原住民文化之间的联系而获得了民族特色。在对约翰·安迪尔的《 Corroboree》进行大量新闻报道的背景下，对Sculthorpe的陈述进行解释，并结合对Sonatina和Irkanda中音乐主题和手势的分析，我发现这些早期作品的某些部分比以前认为的更具代表性，并且这些代表性借鉴原始主义的话语和民间话语。其中一个方面涉及Bartók的一些民俗派现代主义成语的例子，这些成语为Sculthorpe提供了榜样。由于其中某些音乐包含了Sculthorpe特有的和声静态快速音乐的最初版本，因此此处介绍的原始性的解释与我们如何理解他的后期作品的快速，有冲击力的段落有关。Sculthorpe对亚伦·科普兰音乐的形成性影响的主张，以及Sculthorpe对堪培拉周围风景的勾画得出的Irkanda I慢旋律的想法，都令人怀疑。给出了Sonatina和Bunjil的寂寞的最新准确日期，并根据早期名称“原住民埋葬（Irkanda）”对Irkanda I的各个方面进行了分析。