Since Luciano Berio’s (1925–2003) Sequenza II (1963), many composers have tried to find new ways to approach the harp as a medium for contemporary music. When asked about writing for the harp, modern composers tend to express a reservation about the complexity of the mechanisms of the instrument itself. Do the very heavy aura and subtext that the instrument carries with it influence the composers as well? While the idioms of other classical instruments commonly used in contemporary music have already been analysed many times over, the uses of the harp in the modern repertoire have gone comparatively unexamined. Using analyses of recent compositions for harp by Heinz Holliger, Marc Andre, Ansgar Beste, Jonathan Bell, Georges Aperghis, as well as interviews with these composers, this study aims to examine how composers of the last fifty years deal with the suggestiveness of the harp in their use of the instrument.

中文翻译：

---

在当代音乐中接近或规避竖琴的暗示性

自 Luciano Berio (1925–2003) Sequenza II (1963) 以来，许多作曲家试图寻找新的方式来将竖琴作为当代音乐的媒介。当被问及为竖琴作曲时，现代作曲家倾向于对乐器本身机制的复杂性表示保留。乐器所携带的非常沉重的光环和潜台词是否也会影响作曲家？虽然当代音乐中常用的其他古典乐器的习语已经被多次分析过，但竖琴在现代曲目中的使用却相对未经审查。使用对 Heinz Holliger、Marc Andre、Ansgar Beste、Jonathan Bell、Georges Aperghis 近期竖琴作品的分析，以及对这些作曲家的采访，