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The Twenty-First-Century Harp
Contemporary Music Review Pub Date : 2019-11-02 , DOI: 10.1080/07494467.2019.1706339
Ailie Robertson

The harp is, first and foremost, an instrument like all others: a source of sound, the value of which is determined by the cultures within which the instrument operates. This definition allows for numerous possibilities, but legacy, tradition, and stereotypes tend to reinforce limits. There is a dialectical relationship between listeners’ expectations and the repertoire that players actually perform. To some extent, market forces will always dictate what repertoire becomes popular, and thus gets perpetuated. Compositional approach is one of the main themes examined in this issue, particularly the dilemma facing the composer when writing for an instrument with strong historical associations. The development of a contemporary repertoire for the harp has been influenced by a number of musical and cultural factors. As Gardner Read writes in his Compendium of Modern Instrumental Techniques,

中文翻译:

二十世纪竖琴

竖琴首先是一种和其他所有乐器一样的乐器:一种声音的来源,其价值取决于乐器所在的文化。这个定义允许多种可能性,但遗产、传统和刻板印象往往会强化限制。听众的期望与演奏者实际演奏的曲目之间存在辩证关系。在某种程度上,市场力量总是会决定哪些曲目会变得流行,从而得以延续。作曲方法是本期研究的主要主题之一,尤其是作曲家在为具有强烈历史关联的乐器写作时面临的困境。现代竖琴曲目的发展受到许多音乐和文化因素的影响。
更新日期:2019-11-02
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