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千百万人在第一次世界大战中所遭受的深重灾难导致对许多艺术珍品的重新评价,探索新的美学思想。战后的十年在西方随着这种探索开始出现各种不同创作思潮的争论。一方面是人们试图找到生活与艺术中的永久精神支柱;另一方面却是不相信有可能找到这种支柱而在“垮掉的一代”人们身上唤起的悲观思潮,对人类的存在感到毫无希望。如何反映现实世界中存在的一些现象出现两种态度:一种是纯理性冷漠的、结构主义的体现和过份感情的、极端表现主义的反映。随着细腻的心理描写而产生一种意欲取消音乐的心理描绘的对立面。这些普遍流行的思潮在一些不同美学观点的音乐家的创作中都可以发现,而有时在某一个作曲家身上也可以看出。
The deep disaster that millions of people suffered in World War I led to a reassessment of many art treasures and exploration of new aesthetics. Ten years after the war, various debates of different creative styles began to emerge in the West. On the one hand, people are trying to find permanent spiritual pillars in life and art; on the other, they are not convinced of the pessimism that may be found in the “Beat Generation” if they are likely to find such a pillar and have no sense of human existence hope. There are two kinds of attitudes on how to reflect some phenomena in the real world: one is the reflection of pure indifference, structuralism and over-emotional and extreme expressionism. With the delicate psychological description and create a psychological description of the intention to cancel the opposite of music. These popular trends of thought are found in the works of musicians of different aesthetic perspectives, sometimes also seen by a composer.