包邮实用音乐英文选读-音乐英文分类文选导读与专业术语-含MP3

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《实用音乐英文选读:音乐英文分类文选导读与专业术语》：音乐专业本科生、研究生海外留学必读材料，全面攻克音乐学生“恐英症”。

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插图：It is here that we can begin to look for the essential role of formal education, for the particular contribution that schools and colleges can make. The songs people sing, the tunes they make, the dances they dance stem only partly from extra-musical cultural requirements and conventions. The materials and structure of musical instruments themselves fashion the tonal relationships ofcertain intervals and scales and particular rhythmic or timbre possibilities; in any culture musicians, given the slightest license, will go beyond the immediate needs of ritual or community function and decorate, elaborate, 'put bits in'; dancers will invent dance, not simply perform it, a fact evident even in discos.The secret lies in the human aspiration towards playful abstraction and the generation of symbolic forms, such as language, mathematical thinking, music, dance and visualart. To bring this out I need to return just once more to Karl Popper and especially to his concept of self transcendence.The incredible thing about life, evolution, and mental growth, is just this method of give- and-take, this interaction between our actions and their results by which we constantly tran- scend ourselves, our talents, our gifts.This self-transcendence is the most striking and important fact of all life and all evolution, and especially of human evolution.In its pre-human stages it is of course less obvious, and so it may indeed be mistaken for something like self-expression. But on the human level, self-transcendence can be overlooked only by a real effort. As it happens with our children, so with our theories: we may gain from them a greater amount of knowledge than we originally imparted to them.The process of learning, of the growth of subjective knowledge, is always fundamentally the same. It is imaginative aitidsm. This is how we transcend our local and temporal environment.

作者简介

姚恒璐，男，博士，中央音乐学院作曲系教授、博士生导师。曾在英国利兹大学攻读学位，连续四年获英国政府奖学金；1990年获作曲专业音乐硕士学位（Master of Music）；1994年获得该院作曲专业的**哲学博士学位（Ph.D.）。在英期间曾多次发表新作品，其中**交响曲《升华》于1993年在全英作曲博士研究生新作品比赛中获奖。1995年8月回国，在北京中央音乐学院作曲系任教，开设“作曲”、“20世纪作曲技法分析”课，并继续从事音乐创作和理论研究。个人专著有《20世纪作曲技法分析》（上海音乐出版社2000年版）、《现代音乐分析方法教程》（湖南文艺出版社2003年版），主编《音乐必听曲目欣赏指导》（9册，山西教育出版社2003年版）、《波兰作曲家鲁托斯拉夫斯基的偶然音乐作曲技法研究》（香港华文出版社2005年版）。2000年获选国家教育部第二批艺术类学科“跨世纪优秀人才培养计划”（人文社会科学音乐类唯一入选人）：2000年获美国科尔比科学与文化信息中心颁发的世界网络优秀论文成就奖。2002年得到英国国家学术委员会资助，到英国南安普顿大学做访问学者，期间与英国、德国、奥地利等国家音乐界、音乐院校广泛接触。发表各类学术论文近70篇：音乐作品70多首（部），包括：室内乐《七重奏》、**交响曲《升华》（七乐章）；管弦乐《虹》，大提琴与钢琴合奏《阳关三叠》；《追忆》，为大提琴与7位演奏者而作：六重奏《山曲》、弹拨乐合奏《一枝花》、钢琴组曲《琴韵拾遗》、《北京童谣5首》、艺术歌曲数十首等。