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A History of Western Music pdf epub mobi 著者簡介

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發表於2024-12-23

A History of Western Music 2024 pdf epub mobi 電子書 下載

A History of Western Music 2024 pdf epub mobi 電子書 下載

A History of Western Music 2024 pdf epub mobi 電子書 下載

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評分☆☆☆☆☆

這是一本相當專業的音樂史巨著，相比朗多米爾的《西方音樂史》而言，本書篇幅更大，內容更加專業，視角也更加可觀。另外可以用保羅亨利朗格的《西方文明中的音樂》一書與本書做對比，同樣作為音樂史學的著作，顯然朗格是站在整個文明的立場上，文明是全書的主綫，而音樂...  

評分☆☆☆☆☆

這是一本相當專業的音樂史巨著，相比朗多米爾的《西方音樂史》而言，本書篇幅更大，內容更加專業，視角也更加可觀。另外可以用保羅亨利朗格的《西方文明中的音樂》一書與本書做對比，同樣作為音樂史學的著作，顯然朗格是站在整個文明的立場上，文明是全書的主綫，而音樂...  

評分☆☆☆☆☆

這是一本相當專業的音樂史巨著，相比朗多米爾的《西方音樂史》而言，本書篇幅更大，內容更加專業，視角也更加可觀。另外可以用保羅亨利朗格的《西方文明中的音樂》一書與本書做對比，同樣作為音樂史學的著作，顯然朗格是站在整個文明的立場上，文明是全書的主綫，而音樂...  

評分☆☆☆☆☆

買這本書的時候也是因為要考音樂學。不過那時候還不知道自己要考哪所音樂學院。 三大音樂史版塊最討厭的就是中國近現代音樂史，當然這隻是考學時的偏頗。現在已然知道，這都是當時近現代音樂史考書害的！！！！ 西方音樂史的書我傢有好多，都讀過，而且伴隨我的音樂學院學曆...  

評分☆☆☆☆☆

I bought it 10 years ago, maybe 11. I used it for my preparation to get in to the Musicology department of the Music Academy. I didn't get accept. And I fled to America. I brought a few books with me, this one is among them. Even though after 10 years, I...  

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出版者:W. W. Norton & Company

作者:J. Peter Burkholder

出品人:

頁數:986

譯者:

出版時間:2009-1-30

價格:USD 85.11

裝幀:Hardcover

isbn號碼:9780393931259

叢書系列:

評分☆☆☆☆☆

兩天內賣齣的第二本書。不大願賣。不少有意思的段落和筆記，部分如下。學到1750，期末論文關於巴赫《賦格的藝術》。關注：古希臘音樂理論的發展和復興; M.L.West。 p.316 It is sometimes not the originator of an idea, but the first person to show its full potential, who gives it a permanent place in human history. So it appears with opera, whose first widely renowned composer was not Peri or Caccini but Claudio Monteverdi. (原評*：originator 無尋; recognition) p.310 ...opera might never have emerged without the interest of humanist scholars, poets, musicians, and patrons in reviving Greek tragedy. They hoped to generate the ethical effects of ancient music in Greece by creating modern works with equal emotional power...In this sense, opera fulfilled a profoundly humanist agenda, a parallel in dramatic music to the emulation of ancient Greek sculpture and architecture. Renaissance scholars disagreed among themselves about the role of music in ancient tragedy...After reading in Greek almost every ancient work on music that survived, he (Girolamo Mei, 1519-1594) concluded that Greek music consisted of a single melody, sung by a soloist or chorus, with or without accompaniment. This melody could evoke powerful emotional effects in the listener through the natural expressiveness of vocal registers, rising and falling pitch, and changing rhythms and tempo. p.39 Boethius (ca.480-ca.524) was the most revered authority on music in the Middle Ages...Music for Boethius is a science of numbers, and numerical ratios and proportions determine intervals, consonances, scales and tuning. Boethius compiled the book from Greek sources, mainly a lost treatise by Nicomachus and the first book of Ptolemy's Harmonics...(Figure 2.10) the three types of music Boethius described: at the top, musica mundana, the mathematical order of the universe; in the middle, musica humana, the harmony of the human body and soul; and on the bottom, musica instrumentalis, audible music (Lebrecht Music & Arts)...Boethius emphasized the influence of music on character...He valued music primarily as an object of knowledge, not a practical pursuit. For him music was the study of high and low sounds by means of reason and the senses; the philosopher who used reason to make judgments about music was the true musician, not the singer or someone who made up songs by instinct. p.10-11 The aulos was a pipe typically played in pairs...used in the worship of Dionysus, god of fertility and wine; Lyres usually had seven strings and were strummed with a plectrum, or pick...The lyre was associated with Apollo; The kithara was a large lyre, used especially for processions and sacred ceremonies and in the theater... the Greeks, despite having a well-developed form of notation by the fourth century B.C.E., primarily learned music by ear; they played and sang from memory or improvised using conventions and formulas. p.12 From the sixth century B.C.E. or earlier, the aulos and kithara were played as solo instruments. Sakadas of Argos won the prize for aulos playing at the Pythian Games...performing the Pythic Nomos, a virtuoso composition portraying Apollo's victory over the serpent Python; one writer attributes the piece to Sakadas, making him the earliest composer of instrumental music whose name we know. (Figure 1.9: Kitharode singing to his own accompaniment on the kithara, with his head tilted back: *遷：常給神？或顯盲彈） p.12 There were two principal kinds of writings on music: (1) philosophical doctrines on the nature of music, its effects, and its proper uses [most influential: by Plato in his Republic and Timaeus and by Aristotle in his Politics]; and (2) systematic descriptions of the materials of music, what we now call music theory [evolved continually from the time of its founder, Pythagoras, to Aristides Quintilianus, its last important writer]. p.13 Music as a performing art was called melos...Melos could denote an instrumental melody alone or a song with text, and "perfect melos" was melody, text, and stylized dance movement conceived as a whole. For the Greeks, music and poetry were nearly synonymous..."Lyric" poetry meant poetry sung to the lyre; "tragedy" incorporates the noun ode, "the art of singing." (*: spatial-temporal) p.13 For Pythagoras and his followers, numbers were the key to the universe, and music was inseparable from numbers. Rhythms were ordered by numbers, because each note was some multiple of a primary duration. Pythagoras was credited with discovering that the octave, fifth, and fourth, long recognized as consonances, are also related to numbers. These intervals are generated by the simplest possible ratio: for example, when a string is divided, segments whose lengths are in the ratio 2:1 sound an octave, 3:2 a fifth, and 4:3 a fourth. p.13 Because musical sounds and rhythms were ordered by numbers, they were thought to exemplify the general concept of harmonia, the unification of parts in an orderly whole...Greek writers perceived music as a reflection of the order of the universe. p.13-14 Greek writers believed that music could affect ethos, one's ethical character of way of being and behaving...Through the doctrine of imitation outlined in his Politics, Aristotle described how music affected behavior: music that imitated a certain ethos aroused that ethos in the listener. The imitation of an ethos was accomplished partly through the choice of harmonia, in the sense of a scale type or style of melody. p.14-15 Plato and Aristotle both argued that education should stress gymnastics (to discipline the body) and music (to discipline the mind). In his Republic, Plato insisted that the two must be balanced, because too much music made one weak and irritable while too much gymnastics made one uncivilized, violent, and ignorant. Only certain music was suitable, since habitual listening to music that roused ignoble states of mind distorted a person's character. Those being trained to govern should avoid melodies expressing softness and indolence. Plato endorsed two harmoniai--the Dorian and Phrygian, because they fostered temperance and courage--and excluded others...Aristotle, in his Politics, was less restrictive than Plato. He held that music could be used for enjoyment as well as education and that negative emotions such as pity and fear could be purged by inducing them through music and drama. However, he felt that sons of free citizens should not seek professional training or instruments or aspire to the virtuosity shown by performers in competitions since it was menial and vulgar to play solely for the pleasure of others rather than for one's own improvement. p.9 India and China developed independently from Mesopotamia and were probably too distant to affect Greek or European music. Surviving sources that shed light on Egyptian musical traditions are especially rich...Archaeological remains and images that relate to music are relatively scant for ancient Israel, but music in religious observances is described in the Bible.

評分☆☆☆☆☆

兩天內賣齣的第二本書。不大願賣。不少有意思的段落和筆記，部分如下。學到1750，期末論文關於巴赫《賦格的藝術》。關注：古希臘音樂理論的發展和復興; M.L.West。 p.316 It is sometimes not the originator of an idea, but the first person to show its full potential, who gives it a permanent place in human history. So it appears with opera, whose first widely renowned composer was not Peri or Caccini but Claudio Monteverdi. (原評*：originator 無尋; recognition) p.310 ...opera might never have emerged without the interest of humanist scholars, poets, musicians, and patrons in reviving Greek tragedy. They hoped to generate the ethical effects of ancient music in Greece by creating modern works with equal emotional power...In this sense, opera fulfilled a profoundly humanist agenda, a parallel in dramatic music to the emulation of ancient Greek sculpture and architecture. Renaissance scholars disagreed among themselves about the role of music in ancient tragedy...After reading in Greek almost every ancient work on music that survived, he (Girolamo Mei, 1519-1594) concluded that Greek music consisted of a single melody, sung by a soloist or chorus, with or without accompaniment. This melody could evoke powerful emotional effects in the listener through the natural expressiveness of vocal registers, rising and falling pitch, and changing rhythms and tempo. p.39 Boethius (ca.480-ca.524) was the most revered authority on music in the Middle Ages...Music for Boethius is a science of numbers, and numerical ratios and proportions determine intervals, consonances, scales and tuning. Boethius compiled the book from Greek sources, mainly a lost treatise by Nicomachus and the first book of Ptolemy's Harmonics...(Figure 2.10) the three types of music Boethius described: at the top, musica mundana, the mathematical order of the universe; in the middle, musica humana, the harmony of the human body and soul; and on the bottom, musica instrumentalis, audible music (Lebrecht Music & Arts)...Boethius emphasized the influence of music on character...He valued music primarily as an object of knowledge, not a practical pursuit. For him music was the study of high and low sounds by means of reason and the senses; the philosopher who used reason to make judgments about music was the true musician, not the singer or someone who made up songs by instinct. p.10-11 The aulos was a pipe typically played in pairs...used in the worship of Dionysus, god of fertility and wine; Lyres usually had seven strings and were strummed with a plectrum, or pick...The lyre was associated with Apollo; The kithara was a large lyre, used especially for processions and sacred ceremonies and in the theater... the Greeks, despite having a well-developed form of notation by the fourth century B.C.E., primarily learned music by ear; they played and sang from memory or improvised using conventions and formulas. p.12 From the sixth century B.C.E. or earlier, the aulos and kithara were played as solo instruments. Sakadas of Argos won the prize for aulos playing at the Pythian Games...performing the Pythic Nomos, a virtuoso composition portraying Apollo's victory over the serpent Python; one writer attributes the piece to Sakadas, making him the earliest composer of instrumental music whose name we know. (Figure 1.9: Kitharode singing to his own accompaniment on the kithara, with his head tilted back: *遷：常給神？或顯盲彈） p.12 There were two principal kinds of writings on music: (1) philosophical doctrines on the nature of music, its effects, and its proper uses [most influential: by Plato in his Republic and Timaeus and by Aristotle in his Politics]; and (2) systematic descriptions of the materials of music, what we now call music theory [evolved continually from the time of its founder, Pythagoras, to Aristides Quintilianus, its last important writer]. p.13 Music as a performing art was called melos...Melos could denote an instrumental melody alone or a song with text, and "perfect melos" was melody, text, and stylized dance movement conceived as a whole. For the Greeks, music and poetry were nearly synonymous..."Lyric" poetry meant poetry sung to the lyre; "tragedy" incorporates the noun ode, "the art of singing." (*: spatial-temporal) p.13 For Pythagoras and his followers, numbers were the key to the universe, and music was inseparable from numbers. Rhythms were ordered by numbers, because each note was some multiple of a primary duration. Pythagoras was credited with discovering that the octave, fifth, and fourth, long recognized as consonances, are also related to numbers. These intervals are generated by the simplest possible ratio: for example, when a string is divided, segments whose lengths are in the ratio 2:1 sound an octave, 3:2 a fifth, and 4:3 a fourth. p.13 Because musical sounds and rhythms were ordered by numbers, they were thought to exemplify the general concept of harmonia, the unification of parts in an orderly whole...Greek writers perceived music as a reflection of the order of the universe. p.13-14 Greek writers believed that music could affect ethos, one's ethical character of way of being and behaving...Through the doctrine of imitation outlined in his Politics, Aristotle described how music affected behavior: music that imitated a certain ethos aroused that ethos in the listener. The imitation of an ethos was accomplished partly through the choice of harmonia, in the sense of a scale type or style of melody. p.14-15 Plato and Aristotle both argued that education should stress gymnastics (to discipline the body) and music (to discipline the mind). In his Republic, Plato insisted that the two must be balanced, because too much music made one weak and irritable while too much gymnastics made one uncivilized, violent, and ignorant. Only certain music was suitable, since habitual listening to music that roused ignoble states of mind distorted a person's character. Those being trained to govern should avoid melodies expressing softness and indolence. Plato endorsed two harmoniai--the Dorian and Phrygian, because they fostered temperance and courage--and excluded others...Aristotle, in his Politics, was less restrictive than Plato. He held that music could be used for enjoyment as well as education and that negative emotions such as pity and fear could be purged by inducing them through music and drama. However, he felt that sons of free citizens should not seek professional training or instruments or aspire to the virtuosity shown by performers in competitions since it was menial and vulgar to play solely for the pleasure of others rather than for one's own improvement. p.9 India and China developed independently from Mesopotamia and were probably too distant to affect Greek or European music. Surviving sources that shed light on Egyptian musical traditions are especially rich...Archaeological remains and images that relate to music are relatively scant for ancient Israel, but music in religious observances is described in the Bible.

評分☆☆☆☆☆

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評分☆☆☆☆☆

除瞭太貴瞭點。。內容還是不錯的

評分☆☆☆☆☆

除瞭太貴瞭點。。內容還是不錯的

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