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「今日荐书」瓦格纳在其音乐史的辩证法中以否定的立场创造了这一术语，“绝对音乐”的名称诞生 于负面的背景中。在瓦格纳看来，绝对音乐并不仅限于器乐曲，也包括“语言、诗歌基础被替换”的声乐曲。作者邦兹揭示了19世纪50年代至20年代之间，对于绝对音乐的理解是如何发展的。并且阐述了为何会发生如此剧烈的变化。 Absolute Music: The History of an Idea 《绝对音乐》 一部思想史 By Mark Evan Bonds What is music, and why does it move us? From Pythagoras to the present, writers have struggled to isolate the essence of 'pure' or 'absolute' music in ways that also account for its profound effect. In Absolute Music: The History of an Idea, Mark Evan Bonds traces the history of these efforts across more than two millennia, paying special attention to the relationship between music's essence and its qualities of form, expression, beauty, autonomy, as well as its perceived capacity to disclose philosophical truths. 什么是音乐？为什么它能感染我们？从毕达哥拉斯到现在，作家们一直在试图分离“纯粹”或“绝对”音乐的本质，这也解释了它的深刻影响。在《绝对音乐：一部思想史》中，作者马克·埃文·邦兹追溯了两千多年以来的历史，着重关注音乐的本质及其形式、表达、美、自发性以及它与哲学启示的之间的联系。 The core of this book focuses on the period between 1850 and 1945. Although the idea of pure music is as old as antiquity, the term 'absolute music' is itself relatively recent. It was Richard Wagner who coined the term, in 1846, and he used it as a pejorative in his efforts to expose the limitations of purely instrumental music. For Wagner, music that was 'absolute' was isolated, detached from the world, sterile. His contemporary, the Viennese critic Eduard Hanslick, embraced this quality of isolation as a guarantor of purity. Only pure, absolute music, he argued, could realize the highest potential of the art. 本书的主要关注1850年至1945年这一时期。尽管纯音乐的概念从古至今就有，但“绝对音乐”这个术语相对较新。1846年，理查德·瓦格纳创造了“绝对音乐”这个词，但他把它作为贬义词，用来揭露纯粹器乐的局限性。瓦格纳认为，音乐的“绝对”是孤立的，因脱离世界而枯燥无味。他的同时代，维也纳乐评家爱德华·汉斯利克，把这种孤立的品质视为纯洁的保证。他认为，只有纯粹、绝对的音乐才能实现艺术的最高潜质。 Bonds reveals how and why perceptions of absolute music changed so radically between the 1850s and 1920s. When it first appeared, 'absolute music' was a new term applied to old music, but by the early decades of the twentieth century, it had become-paradoxically--an old term associated with the new music of modernists like Schoenberg and Stravinsky. Bonds argues that the key developments in this shift lay not in discourse about music but rather the visual arts. The growing prestige of abstraction and form in painting at the turn of the twentieth century-line and color, as opposed to object-helped move the idea of purely abstract, absolute music to the cutting edge of musical modernism. 作者邦兹揭示了19世纪50年代至20年代之间，对于绝对音乐的理解是如何发展的。并且阐述了为何会发生如此剧烈的变化。“绝对音乐”最初出现的时候是旧音乐的一个新名词，但到了20世纪的最初几十年，与之相反的是，它变成了一个与勋伯格和斯特拉文斯基等现代派新音乐相比较的旧名词。邦兹认为，这种转折的关键不在于音乐的讨论，而在于视觉艺术。在20世纪初的绘画中，抽象化作品的声望越来越高，这使得纯粹、抽象而绝对的音乐思想进军音乐现代主义的最前沿。 By carefully tracing the evolution of absolute music from Ancient Greece through the Middle Ages to the twentieth-century, Bonds not only provides the first comprehensive history of this pivotal concept but also provokes new thoughts on the essence of music and how essence has been used to explain music's effect. A long awaited book from one of the most respected senior scholars in the field, Absolute Music will be essential reading for anyone interested in the history, theory, and aesthetics of music. 邦兹详细地追溯“绝对音乐”概念从古希腊到中世纪到20世纪的演变过程，不仅首次向读者提供了这一关键概念的全面性历史，并且引发了人们对“音乐本质的思考”，阐述了如何运用这种思考来诠释音乐效果。作为该领域最受尊敬的资深学者之一，这部令人期待已久的书，对于任何对音乐史、理论和美学感兴趣的人来说都是必不可少的阅读材料。 |
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