中央音乐学院音乐论坛讲座学者及音乐会介绍

　　吉姆 桑姆森 教授 Prof. Jim Samson

　　学术报告时间：11月13日 10:30—11:30 地点：501

　　Lecture 13th Nov. 10:30—11:30 Location: 501

　　英国大学皇家Holloway音乐系教授，Jim Samson教授2002年加入伦敦大学皇家Holloway，他也曾在Exeter和Bristol大学任教。他在肖邦音乐、19世纪和20世纪音乐分析与审美论题方面发表了大量的分析论著，包括7本论著，和7本编辑与合作编辑的书籍）。他是《肖邦全集：新的评论版本》(Peters Edition, 进行中)系列丛书的编著者之一。

　　1989年他获得了波兰文化部授予的Order Merit 奖，以奖励他对肖邦音乐学识方面的贡献。2000年他被选举为英国学会的成员。他近期出版的著作包括《19世纪音乐的剑桥历史》（剑桥，2002）和《炫技与音乐作品：李斯特的超自然研究》（剑桥，2003），2004年被授予皇家音乐协会书籍奖。

　　他最新与J. P. E. Harper-Scott编着的教材, 《音乐研究的初探》，也是最近正在准备研究的关于巴尔干半岛和地中海东部岛屿的音乐课题。他的《肖邦叙事曲》（Peters 版本）被《国际钢琴奖》授予为2009年度版本。他正在创作在希腊独立战争时期的小说系列。

　　Jim Samson joined the staff at Royal Holloway in 2002 as Professor of Music having previously been Professor at the Universities of Exeter and Bristol. He has published widely (including seven single-authored books, and seven edited or co-edited books) on the music of Chopin and on analytical and aesthetic topics in nineteenth- and twentieth-century music. He is one of three Series Editors of The Complete Chopin: A New Critical Edition (Peters Edition, in progress). In 1989 he was awarded the Order of Merit from the Polish Ministry of Culture for his contribution to Chopin scholarship, and in 2000 he was elected a Fellow of the British Academy. His most recent publications include The Cambridge History of Nineteenth-Century Music (Cambridge, 2002) and Virtuosity and the Musical Work: The Transcendental Studies of Liszt (Cambridge, 2003), which was awarded the Royal Philharmonic Book Prize in 2004. He recently edited a textbook with J. P. E. Harper-Scott, An Introduction to Music Studies, and is currently preparing research projects on Music in the Balkans and Music in Cyprus. His edition of the Chopin Ballades (Peters Edition) was named '2009 Edition of the Year' in the International Piano Awards. He is currently writing a novel set during the Greek War of Independence.

　　讲座题目：再次过渡：另一种视角看现代主义

　　提要：

　　大约三十五年以前，我写了一本关于二十世纪早期调性扩展和无调性方面的书。那是一篇关于作曲历史的文章（区别于上下文的论述方式），从相对非正式的分析洞察角度进行论述。由于这本书的出版，对于二十世纪早期经典曲目的音乐学方法产生了两个地震性的改变。第一个是音乐结构系统化理论的普及，无论是基于音集集合理论，新申克理论，或者是新黎曼主义理论。另一个是新的或关键的音乐学的发展，这种理论已经引起了深藏在基于理论分析的全部事业的一些假设的疑问。

　　这个讲座从当代的视角仔细考虑早期书籍，并且思考在当今的学科演进中它的发现是否仍然存在价值。上述列出的这些变化怎样与这本书的结论有关？是否有任何十九世纪七十年代中期的方法能能够被挽救出来？并且一个人可能会怎样处理相似的研究课题？在这些反映的过程中，我将分别从历史和分析的视角看二十世纪早期现代主义经典文献，和较广泛地在理解现代主义演变中关于结构和动力之间关系的各自能力。同时我建议，我的书在理解音乐历史的范例方面对于学术时尚的追求远逊于对于人类交流的充分公正方面的追求（区别于人类意识）。

　　Topic: Re-transition: another look at modernism

　　Abstract:

　　More than 35 years ago I wrote a book on tonal expansion and atonality in the early twentieth century. It was an essay in compositional (as distinct from contextual) history, supported by relatively informal analytical insights. Since the publication of that book there have been two seismic changes in musicological approaches to early twentieth-century repertories. The first was the dissemination of systematic theories of musical structure, whether based on set theory, neo-Schenkerian, or neo-Riemannian methods. The second was the development of ‘new’ or ‘critical’ musicology, which has called into question some of the assumptions underlying the entire enterprise of theory-based analysis.

　　This lecture reflects on that earlier book from a present-day perspective, and questions whether its findings can still have any value in light of the recent evolution of the discipline. How do the changes outlined above bear on the conclusions of the book? Can anything be rescued from the approaches of the mid 1970s? And how might one tackle a similar study today? In the course of these reflections, I will look at the respective competencies of historical and analytical perspectives on early twentieth-century modernist repertories, and at the relation between structures and agencies in understanding the march to modernity more generally. And I will suggest that the limitations of my book are less to do with scholarly fashions than with a failure to do adequate justice to human communication (as distinct from human consciousness) in understanding paradigms of change in music history.