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Essay代写:History of western music

2018-03-12 | 来源:51due教员组 | 类别:Essay代写范文

下面为大家整理一篇优秀的essay代写范文- History of western music,供大家参考学习,这篇论文讨论了西方音乐史。西方音乐史是一个历时记录音乐发展脉络的立体科学,它涉及了音乐学、艺术学、历史学等多个研究领域,各种事项、观念、思潮掺杂其中,使西方音乐史学的研究变得极为复杂。西方音乐的发展不仅仅是作曲家的创作,还包括与其相关的表演者、欣赏者、音乐家、史学家、读者和音乐史读本等的共同参与;不仅包括书本上的学术研究,还包括书本外人们的艺术实践活动。

western music,西方音乐史,英国代写,essay代写,代写

Western music history is the history of music development in the west, and records the history of music development in the west. However, how to record three dimensional music in two dimensional historical text? Is there any connection between music and other contemporary art forms? If so, how does this connection occur? How to write the history of western music is really the history of music... The answer to a series of questions can't get around the relationship between music, art and history. How to deal with the relationship between the three is the most important question in music history writing. The author intends to discuss this problem in the background of the formation and development of music historiography in the west.

The earliest history can be traced back to the middle ages, at the beginning of the medieval Christian church records important characters and events in chronological order, marked with the substantial meaning of the history in the western world. Gregory 6th century French religious historians in the preface of the history of the Franks "said:" although rank, I also want to put the past memory posterity, never make those evil struggle between people and the upright flooded without smell." The historical purpose of medieval historians is to make people understand the past, or to understand what they believe to be the true past. In this historical context, the earliest history of music originating in the church is the same as that of other historical records, only in chronological order of important persons and events in Christianity. Therefore, medieval music record has a sense of "history", but the music has not been seen as a special kind of art, so did not consider when recording their musical and artistic characteristics.

Since the middle ages, profound changes have taken place in western society, the Renaissance, the enlightenment was the liberation of the people's thoughts: in god as the center to the people-oriented, theology to science, and so on. With the development of western society, the academic branch system is gradually completed, and history is established as an independent discipline. In the historical background of the great progress of the natural science in the 18th century, the whole society set off the craze of advocating science, which replaced theology as the standard to measure and judge things. Leopold von frank, a famous German historian, believes that the task of the historian is to be direct, impartial and truthful. In order to do this, we must first criticize the historical materials, and remove the false. Under the influence of ranke positivist historiography, history writing also emphasizes the authenticity and accuracy of materials, research the origin of music works, the authenticity of the letter, and looking for musicians relics have been the focus of the work become a music historian at this time.

In 1859, Darwin published the origin of species, and the book put forward the idea of evolution, which had a profound influence on western society. Under the influence of theory of evolution, history has appeared in the field of history, and it is believed that the development of society is like the evolution of biology. The writing of music history is also influenced by the theory of evolutionary history, and the development of music is also a process from simple to complex, from simple to complex and from low to high. Therefore, the writing of music history begins with positivism, and evolution is the writing method of developing lines. The writing of music history is also active, both the writing of the general history and the reading of the national history. The representative works include j. foker's "music history", A.W. ambrose's "music history" and so on. At this time, the history of music history has been established, but music and artistry have not yet formed.

In the late 19th and early 20th centuries, with the development of the humanities, people began to question whether all subjects were as capable of "absolute truth" as natural science. Have taken place in the western academia, therefore, a 180 - degree change, social sciences, the humanities began to give up the pursuit of "truth", also the historical study the pitfalls of the pursuit of "absolute truth", to realize the subjectivity of history writing and the modernity. Compared with other things, art has its own unique characteristics, and the development and evolution of art has its own laws. (2) 1854 Austria music esthetician Edward hanslick's theory of "the beauty of the music" was born, he clearly put forward in this a thin pamphlet: "the beauty of the music works to music is a kind of unique beauty, which exists in the combination of music, music with any strange, outside the scope of thought have no relationship." In music theory and history of art style under the influence of self-discipline, music historians began to realize that music should be the history of music development of music writing must highlight the characteristics of the music itself. What are the properties of music itself? No one seems to be able to answer the question. But music is a kind of art, and at the same time there are many differences between forms of art, and music writing began to borrow framework, the style of western art history writing by writers, works as the research center. Austrian scholar, guido Adler, in its writing style of "music" and "the category, the method and purpose of musicology" two writings clearly put forward based on the research of the music style of style history. In 1924, Adler's "outline of music history" was published. This book established the music style as the basic clue for the analysis of music history, and the research method of style history was formally established. In the framework of style narration, the characteristics of each music style are determined by analyzing the elements of music. Is central to the research on the history of music style is the music work, so that people feel way to the research on the history of style compared with other ways the history closer to the music itself, so as to balance the writing of music art and historical problems.

However, this practice has also been questioned. Is the style framework borrowed from art history applicable to music? Is the music style of an era, analyzed and summarized by music historians, really represent this era? How much of music, different from this style, is excluded from the history of music? Music history that a single on the music style, which leads to the music works untethered from their growth of cultural environment, to enter a state of "vacuum" study, even some people think that history is the metaphysical style historiography method. In such a debate, history also on own perfect style, Mr Grout "western music" from the first edition to the seventh edition of the revision process is vividly reflected the style with a history of self-improvement. Regardless of the question of style history, the writing of music style has brought about the importance of artistry and musicality.

Aiming at the shortcomings of the history of style, someone put forward should put music history research in a broader cultural context, a more comprehensive introduction to music and other arts and social contact, so music cultural history was born. Music culture in the history of the most representative is Paul Henry lang was published in 1941, the music of western civilization, the book lang will music works, musician and music events in the evolution of human history, to examine the cultural mainstream of erase ontology, detail analysis of the works, only pay attention to the macroscopic description in the development of music works in the whole society. This "outside-in" historiography study has been praised and questioned. It is a tribute to music historians that the music works were put back into the soil they produced to examine the reasons for the change of music style from the big social background. Question is the music work is a kind of "aesthetic XianShiXing" special works of art, should from the internal interpretation of the music works its historic, but from the external social environment of interpret music works. Music history writing into the dilemma of "music or not 'history' - it is simply a collection of works of a single structural analysis, or not 'art history - it will only music works demoted to social history or the history of events". How to present music and art, historical synchronic and diachronic relationship in the diachronic record of music; How to write the current aesthetic of music and the history of music has become the goal of music historians.

German music historian Carl dalhousie in his book "music historiography theory" put forward: music writing must be "" from inside to outside" reveals itself is included in the works of history ", "reading from the inner construction works to history and nature of work". But how to "disclose" and how to "construct", he does not give a clear answer in the book. However, in the three years after the publication of music historiography theory, music history works of dalhousie music in the 19th century, this treatise is considered by academic circles as the advent of the book "music historiography theory", a kind of response to the problems and practice. The music in the 19th century to sublimate the narrative mode of traditional music historiography, and will rise the history of the structure of the writing pattern of give up the continuity of historical narration, also no longer describe the composer's life and music works, and discusses various periods of aesthetic concepts, composition, performance mechanism. The continuity of historical events is broken, present various kinds of parallel to each other, are, and even contradictory interaction and influence between events, so music history writing "abandon the unidimensional, linear narrative mode, those who replace is multidimensional, the analysis of the composite paper". Therefore, presents a "state of the composite layer" rhythm of music, so music historians can do careful analysis of specific works, and can introduce a broader cultural and social background. The musicality, artistry and history of music history are well combined. But unfortunately, structural history writing did not cause the resonance of the western music circle, but the presence of the history of music structure is dealing with music in western music history writing, the problem of the relationship between art and history, and a valuable exploration and attempt.

How to deal with music, the relationship between art and history through the study of music history, the discussion on this issue continues today. Maybe people will never get an accurate answer, but they will get closer and closer to the truth in the process of discussion.

Every time I read a book of music history, the author is always pondering a question: what is the difference between music recorded in music history and music recorded in music score? How do historians choose when confronted with the "music" material? With this series of questions, I try to tease out the relationship between music, the composer and the historian of music.

Music history is the history of music development, and music is the main content of music history. Music works is a special kind of art, it is in the past, are also present in the now, every time it appears in the form of "type", it can be either in the form of sound dynamic existence, also can be music, static exists in the form of text. The score is the most objective in these representations, and the record of sound and text is mixed with many subjective factors.

The compilation of western music history is influenced by the history of western literature and art history, with the background of style narration and the works of composers and music as the research center. The composer's time, race, family, experience and so on all have an influence on the production of the works. So in general, music historians will not present music alone, but will tell the story of music in the life of the composer. For example, when people talk about Beethoven's music, they always associate his work with his life experience. Beethoven's life is music historians divide into three stages: the first phase is the youth, the creation of Beethoven this period is still in the imitation stage, music creation has not yet formed their own style, so this period of creation of the first and second symphony symphony of Beethoven for the traditional dependence. Second stage is heroic style formation stage, at this time Beethoven has experienced life and destiny of the great pain and the test, to create a "hero" "fate" and "moonlight" "rural" and so on famous symphony "enthusiasm" and so on the piano sonata. His experiences in the struggle against fate are incisively and vividly in these works. In the third stage, in his later years, Beethoven had completely lost his hearing, alone, and felt very lonely. He lost the passion of the struggle of his youth, and his thoughts became more and more profound. The works such as the ninth symphony, the solemn mass, and so on, embody the profound and complex thoughts. Music historians will, therefore, is associated with composer music works, with works of music composers style, the composer's life experiences also explaining the music of his creative works, make the mutual support between composer and music works, and each period of the establishment of the music style is based on multiple composer and music at the same time the establishment of a common feature to complete the work.

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