为什么一个作曲家要故意地去冒犯他(或她)的听众?乔治.J.彪罗(George J.Buelow)在他为《新格罗夫音乐与音乐家辞典》所写的那个里程碑式的词条“修辞与音乐”中评述道,在文艺复兴后期修辞对于音乐创作不断提升的影响,导致了在美学和创作手法上的一系列变化,这些变化“使音乐理论家们面临对于所有传统音乐理论来说陌生的问题。”(3)的确,音乐是一种类似于演说(一种其目标是影响听众感情和思想的活动)的修辞艺术这一概念,在深层意义上讲,是对立于把音乐看作是一种正确的和愉悦的音高与节奏组织这 Why does a composer deliberately offend his or her audience? George J.Buelow, in his milestone for the New Grove Dictionary of Music and Musicians The entry, “Rhetoric and music,” commented that the rhetoric of the late Renaissance had an impact on the continuous rise of music production, leading to a series of changes in aesthetics and creative techniques that “left music theorists with All traditional music theory. ”(3) Indeed, music is a concept similar to the rhetorical art of speech (an activity whose objective is to influence listener feelings and thoughts), in the deeper sense , Is opposed to the music as a correct and pleasing pitch and rhythm organization