“巴黎从来不仅是生活在赛纳河畔的人们的拓居地,因为历代以来它总是象征着很多事物——中世纪的活力、文艺复兴时期的优雅、巴洛克时期的华丽、浪漫主义时期的热情、我们时代的dernier cri(最新花样)。在每个时代里,全世界的艺术创作家们都发现巴黎是个天生适合工作的地方,而且从阿伯拉尔时代以来,它一直是学者们的圣地。”——美国的汉森在他的《二十世纪音乐概论》一书中这样描写巴黎。他说的“我们时代”指的就是20世纪。确实,20世纪的法国,总是在艺术上具有最新花样。从音乐方面说,法国给予世界的,有印象派、具体音乐、整体序列主义等开创性之举,以及对20世纪音乐做出巨大贡献的许多著名作曲家如德彪西、拉威尔、萨蒂、“六人团”、“三人团”、梅西安、布列兹等。众人皆知,19世纪末,作曲界思考的问题是如何突破瓦格纳,因为瓦格纳的半音和声几 “Paris has never been more a place to live than people living on the banks of the River Seine, for it has always symbolized many things since ancient times - the vitality of the Middle Ages, the grace of the Renaissance, the magnificence of the baroque period, the passion of romanticism , The dernier cri of our time. In every era, art writers from around the world find Paris a natural place to work, and since Abelard it has been a sacred place for scholars . ”- Hansen of the United States portrayed Paris in his book Twentieth Century Music Introduction. He said “our time ” refers to the 20th century. Indeed, 20th-century France has always had the latest tricks in art. From a musical point of view, the seminal pioneering work Impressionism, Specific Music, and Total Sequenceism that France gave to the world, as well as many famous composers who have made tremendous contributions to 20th century music such as Debussy, Ravel, Satie , “Six groups ”, “trio ”, Messian, Bretz and so on. It is well known that at the end of the nineteenth century, the question of how the composer community was thinking was how to break through Wagner, since Wagner’s semitone