首页> 外文OA文献 >Leonard Meyer. Style and Music: Theory, History and Ideology. Philadelphia: University of Pennsylvania Press, 1989. xi, 376 pages. Studies in the Criticism and Theory of Music.

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Leonard Meyer. Style and Music: Theory, History and Ideology. Philadelphia: University of Pennsylvania Press, 1989. xi, 376 pages. Studies in the Criticism and Theory of Music.

机译：伦纳德·迈耶（Leonard Meyer）。风格和音乐：理论，历史和意识形态。费城：宾夕法尼亚大学出版社，1989年。xi，376页。音乐批评与理论研究。

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Leonard Meyer's splendid new book, Style and Music: Theory, History and Ideology, provides a rich feast of food for musical thought and (inevitably) for musical controversy. Theorists will, of course, be drawn to the author's nuts-and-bolts functional analyses of the various musical passages he discusses in making his argument; and music historians, doubtless, will find much to stimulate them, as well as to argue about, in his historical characterization of the Classical and Romantic periods in music and of their relevant social, political, and philosophical backgrounds. But philosophers of art like myself will surely fasten upon Meyer's bold attempt to connect the pure musical parameters of syntax and structure to the reigning ideologies with which they co-exist. Nor, I think, will it be out of place to concentrate on this attempt in the present review essay; for it is the major theme and argument of Meyer's book. I call the attempt to connect music and ideology "bold" because-and I think Meyer would agree-this is one of the most difficult and contentious things to make out in the "philosophy of music." In my view, it is one of the two master problems of the discipline, the other, to which it is obviously related, being the problem of making out exactly what the nature is, in the first place, of the aesthetic satisfaction we take in absolute music, given that such music seems, at least on the surface, bereft of semantic or representational content, and, yet, has come to occupy a place in the pantheon no less prominent than that accorded the semantic and representational arts.

机译：伦纳德·梅耶（Leonard Meyer）出色的新书《风格与音乐：理论，历史与意识形态》为音乐思想和（不可避免的）音乐争议提供了丰富的美食。当然，理论家会被作者对他在论证时所讨论的各种音乐段落的详尽分析所吸引。音乐史学家无疑将在他对音乐的古典和浪漫时期及其相关社会，政治和哲学背景的历史描述中找到很多激励和争论的方法。但是像我这样的艺术哲学家肯定会紧紧抓住迈耶的大胆尝试，将语法和结构的纯粹音乐参数与他们共存的统治意识形态联系起来。我认为，在本评论文章中集中精力进行这种尝试也不会不合适；因为这是迈耶著作的主题和论据。我称将音乐和意识形态联系起来的尝试是“大胆的”，因为-我认为迈耶会同意-这是在“音乐哲学”中提出的最困难和有争议的事情之一。在我看来，这是该学科的两个主要问题之一，另一个显然与之相关的问题是，首先要弄清楚自然的本质是我们对美学的满足。绝对音乐，因为这种音乐至少在表面上似乎是语义或表示内容的丧失，然而，它已经在万神殿中占据了不亚于语义和表示艺术的地位。

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Leonard Meyer. Style and Music: Theory, History and Ideology. Philadelphia: University of Pennsylvania Press, 1989. xi, 376 pages. Studies in the Criticism and Theory of Music.

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