论文部分内容阅读
浪漫主义和比德麦耶尔 1 “音乐上的比德麦耶尔”这种表达在何种程度上切合事实,或者是一个单纯的概念幽灵,还没有得到确定,它看来有三个前提:首先,复辟时期自1815年至1848年——而且既在维也纳又在柏林和莱比锡——在文化史上具有一些与(狭隘、安逸和热心教育相联系的)“比德麦耶尔”这个词符合的特点。(诗歌史和音乐史的时代的标志当然勿需与文学史的标志相吻合:对格里尔帕策[Grillparzer]、施蒂弗特[stifter]、默里克[M(?)rike]和德罗斯特[Droste]来说,“比德麦耶尔”这个范畴无疑太狭窄了。) 其次,不乏这样的音乐现象,它们早已在1913年被
To what extent Romanticism and Bide Meyer’s “Biedermeier in Music” fit the truth, or a purely speculative ghost, has not yet been identified, it appears to have three premises: First, the period of restoration began between 1815 and 1848 - and in Vienna and in Berlin and Leipzig-there is in the cultural history some “Bidemeier” in the cultural history in line with the term “narrow, cozy and enthusiastic” specialty. (The symbols of the era of poetry and music history, of course, do not need to coincide with the mark of literary history: The arguments of Grillparzer, Stifter, Merrick, For Droste, the category of “Biedermeyer” is undoubtedly too narrow.) Secondly, there is no shortage of musical phenomena that have long been in 1913