美国加州大学洛杉矶分校罗伯特•温特(Robert Winter)教授上海音乐学院讲座与大师班
一、 学术讲座(一):西方音乐教学的改革之路
Lecture1: A Revolutionary Approach to Teaching Western Music
时间:3月25日(周一)13:30-15:00
地点:北214
二、 学术讲座(二):表演实践——读懂浪漫主义音乐
PERFORMANCE PRACTICE: Reading Romantic Music
时间:3月27日(周三) 13:30-15:00
地点:北414
三、 大师班:19世纪西方音乐作品的演绎
时间:3月28日(周四) 13:30-15:00
地点:小音乐厅
四、 学术讲座(三):为何没有音乐表演史?
Why Is There No History of Musical Performance?
时间:3月29日(周五) 13:30-15:00
地点:北415
讲座主旨/Abstract
第一讲:西方音乐教学的改革之路
早在二十多年前,罗伯特·温特教授就倡导运用数字技术来探索、诠释音乐。“空中音乐”(Music in the Air)是温特教授最新完成的一个多媒体成果。这个多媒体程序可以在PC、苹果系统和iPad上运行,其中包含150多首音乐作品。其资源包括了充分的互动式的听赏指导;有500多个基本音乐术语的互动式术语表,加上200多个有难度的,在文本中会用到的英语单词的解释;100多个谱例,许多已经完成了全部的乐谱,并有“会跳动的方块”进行精确的跟踪;有二十多个“历史之窗”,让你生动地回望过去;还有600多幅全屏分辨率的图像。温特教授的这个成果打通了长久以来存在于普通音乐欣赏课和专业音乐史学课之间的界限。“空中音乐”同时聚焦于丰富的文化语境和精选名作的音响呈现,开创了西方音乐探索的新纪元,既适合学生,也适合受过良好训练但条件有限的教师。
Lecture 1:A Revolutionary Approach to Teaching Western Music
For more than two decades Prof. Robert Winter of UCLA has pioneered the uses of digital technology for exploring and explaining music. Now he brings his most ambitious project ever, a just completed program that covers all of Western music from the ancient Greeks to the most recent fusions of Chinese and Western music. A fully interactive, stand-alone program, Music in the Air runs on PCs, Macs, and iPads. The more than 150 works of music stream from any internet connection. The program’s range of resources includes fully interactive Listening Guides; an interactive Glossary of more than
500 essential musical terms plus definitions of more than 200 challenging English words used in the text; more than a hundred notation examples, many of them complete full scores with “bouncing bricks” that track the score precisely; more than two dozen “Historical Windows” that offer a living glimpse into the past; and more than 600 images with full-screen resolution.
Prof. Winter’s program marks the end of the long-time distinction between students of so-called “music appreciation” and “music majors.” With its dual focus on both rich cultural context and the ever present sounds of carefully chosen works of great music, Music in the Air inaugurates a new era in the exploration of Western music, both for students and for the highly-trained but often greatly disadvantaged faculty who teach it.
第二讲:表演实践——读懂浪漫主义音乐
不仅在中国,全世界的学生都是如此,相比于其他时代的音乐,他们更多地仍在演奏19世纪的音乐。然而,成千上万的学生在学习音乐时常常没有真正理解如何来“读懂”音乐。对于大多数学生而言,表演的目标就是尽可能地复制“乐谱上”的东西。换言之,他们在“照本宣科”地读谱。温特教授将通过一些贝多芬、舒伯特、舒曼、肖邦、勃拉姆斯和李斯特的音乐,来说明读懂浪漫主义音乐不仅仅依靠乐谱上存在的东西,更要依赖于乐谱上没有的东西。议题将涵盖速度、速度的灵活度、力度、分句法和运音法,以及有关音乐涵义这样的大问题。
Lecture 2: PERFORMANCE PRACTICE:Reading Romantic Music
Students not only in China but around the world still play more music from the nineteenth century than from any other era. Yet these millions of students often study this music without any real understanding of how to “read” it. For most students the goal of performance is to reproduce as closely as possible what is “in the score.” In other words, they attempt a "literal" reading of the text. But as Prof. Winter will show in music drawn from Beethoven, Schubert, Schumann, Chopin, Brahms, and Liszt, reading Romantic music depends not only in understanding what is IN the score, but what IS NOT. Topics to be covered include tempo and tempo flexibility, dynamics, phrasing and articulation, and larger issues of musical meaning.
第三讲:为何没有音乐表演史?
温特教授近来为颇有威望的《纽约书评》撰写了关于新出版的《剑桥音乐表演史》(居然有900多页!)的书评。该书工程浩大,也存在不足之处,这引发了温特教授更为深入的思考,他认为为音乐表演进行编年存在着难度,同时太平洋两岸的学者在谈论音乐时,总好像以为音乐是的无声的,而不是有声的。我们“分析”在纸上看见的东西,但我们很少探讨我们可能听到的东西,以及一种特别的表演又将如何影响我们对所听到的东西的见解。
温特教授以18、19世纪的音乐为例,他将展示他的一些观点,即对历史表演传统以及个性化表演的深入理解,将转变我们如何来思考并呈现我们所热爱的音乐的方式。
Lecture 3: Why Is There No History of Musical Performance?
Recently Prof. Winter reviewed the new Cambridge History of Musical Performance (more than 900 pages!) for the prestigious New York Review of Books. That exhaustive project, and especially the shortcomings of the book, caused him to think even more deeply about not only about the difficulties of chronicling musical performance, but also about the reality that scholars on both sides of the Pacific have traditionally preferred to talk about music as if it were silent rather than sounding. We “analyze” what we see on the page, but we rarely discuss what we might hear, and how a particular performance might influence our view of what we hear.
Using examples drawn from the eighteenth and nineteenth centuries, Prof. Winter will offer ideas at how a deeper understanding of both historical performance conventions and individual performances can transform the ways we both think about and present the music we love.
罗伯特·温特教授(UCLA)
著名学者罗伯特·温特(Robert Winter)是美国加州大学洛杉矶分校(UCLA)音乐系的杰出教授。温特教授的研究领域非常广泛:他是公认的贝多芬专家,同时在19世纪钢琴音乐、音乐表演实践等领域也有诸多丰厚的成果。他曾著有《贝多芬作品131创作探源》(Compositional Origins of Beethoven’s OP.131),与道格拉斯·约翰逊以及艾伦·泰森合著了《贝多芬手稿本:历史、重构、概述》(The Beethoven Sketchbooks: History, Reconstruction, Inventory),与罗伯特·马丁合著了《贝多芬四重奏手册》(The Beethoven Quartet Companion)等重要学术专著。同时,温特教授还积极从事与音乐相关的数字媒体产品的开发制作,充分利用高科技手段实现对音乐作品的多层面解读和音乐知识的普及,被誉为继伯恩斯坦之后英语世界最杰出的古典音乐推广者。
罗伯特·温特的主要著述:
书籍
1. Robert Winter and Bruce Carr, Beethoven, Performers, and Critics (Detroit: Wayne State University Press, 1980).
2. Robert Winter, Compositional Origins of Beethoven’s Opus 131 (Ann Arbor: UMI Research Press, 1982).
3. Douglas Johnson, Alan Tyson, and Robert Winter, The Beethoven Sketchbooks: History and Reconstruction (Berkeley, University of California Press, 1985).
4. Winter, R., Music for Our Time (Belmont, California: Wadsworth Publishing Company, 1992) [Introductory Textbook].
5. Robert Winter and Robert Martin, eds., The Beethoven Quartet Companion (Berkeley, University of California Press, 1994).
文集与期刊中的文章
1. “Plans for the Structure of the String Quartet in C-sharp Minor, Op. 131” in Beethoven Studies, Vol. 2 (London: Oxford University Press, 1977), pp. 106-137. Review in Music and Letters, Vol. 61 (1980), pp. 96-98 (by Barry Cooper).
2. “Noch einmal: Wo sind Beethovens Skizzen zur Zehnten Symphonie?” in Beethoven-Jahrbuch, Jahrgang 1973/77, pp. 531-52.
3. “Second Thoughts on the Performance of Beethoven’s Trills” in The Musical Quarterly, Vol. LXIII (October, 1977), pp. 483-504.
4. “Schubert’s Undated Works: A New Chronology” in The Musical Times (June, 1978), pp. 498-500.
5. “The Sketches for the ’Ode to Joy’ “ in Beethoven, Performers, and Critics, ed. Robert Winter and Bruce Carr ( Detroit , 1980), pp. 176-214.
6. “Response to Richard Kramer” in The String Quartets of Haydn, Mozart, and Beethoven. Isham Library Papers III (Cambridge: Harvard University Press, 1980), pp. 266-72.
7. “Paper Studies and the Future of Schubert Research” in Schubert Studies: Problems of Style and Chronology, edited Eva Badura-Skoda and Paul Branscombe (Cambridge: Cambridge University Press, 1982), pp. 209-75.
8. “Reconstructing Riddles: The Sources for Beethoven’s Missa Solemnis” in Essays in Honor of Elliott Forbes, ed. Lewis Lockwood and Phyllis Benjamin (Harvard University Press, 1984), pp. 217-50.
9. “The Limits of Authenticity: The Romantic Piano” in Early Music, Vol. 12, No. 1 (February, 1984), pp. 21-25.
10. “Performing Beethoven’s Early Piano Concertos,” Early Music, Vol. XVI, No. 2 (1988), pp. 214-30.
11. Winter, R., “‘Striking It Rich’: The Significance of Striking Points in the Evolution of the Romantic Piano,” The Journal of Musicology), Vol. VI (1988), pp. 267-292. Frances Densmore Prize of the American Musical Instrument Society for the best article on musical instruments from 1987-90.
12. Winter, R. “The Bifocal Close and the Evolution of the Viennese Classical Style,” Journal of the American Musicological Society, Vol. XLII (1989), pp. 275-337.
13. Winter, R., “The Romantic Piano” in The New Grove Handbook of Performing Practice, Music after 1600, ed. Howard Mayer Brown and Stanley Sadie (New York, N. Y., 1990), pp. 346-373.
14. Winter, R., “Orthodoxies, Paradoxes, and Contradictions: Performance Practice in Nineteenth-Century Piano Music,” Todd, L. (ed.), Piano Music in the Nineteenth Century (New York, 1990), pp. 16-54.
15. Winter, R., “Of Realizations, Completions, Restorations, and Reconstructions: From Bach’ s Art of the Fugue to Beethoven’s Tenth Symphony,” Journal of the Royal Musical Association, Vol. (1991), pp. 96-126.
16. Winter, R., “Whose Schubert?,” 19th Century Music, Vol. XVII (1993), pp. 94-101.
17. Winter, R., “Performing the Beethoven Quartets in Their First Century,” in The Beethoven Quartet Companion ( Berkeley , 1994), pp. 29-57.
18. Winter, R., “Recomposing the Grosse Fuge: Beethoven and Op. 134,” Essays in Honor of Charles Rosen ( University of Rochester Press, 2008), pp. 124-149.
辞典与百科全书中的委约文章
1. “Beethoven” entry in the New Funk and Wagnalls Encyclopedia, Revised Edition (New York, 1984), 1,500 words.
2. “Keyboard Music from 1750-1900” in The New Grove Dictionary of Musical Instruments, ed. Stanley Sadie ( London , 1984), Vol. 2, pp. 400-411. Reprinted in the New Grove volume on the piano.
3. “Performing Practice After 1750” in The New Grove Dictionary of Musical Instruments, ed. Stanley Sadie ( London , 1984), Vol. 3, pp. 53-59. Review by Nicholas Kenyon, Sunday Times ( London ), March 3, 1985, p. 45.
4. “Piano Playing” in The New Grove Dictionary of Musical Instruments, ed. Stanley Sadie ( London , 1984), Vol. 3, pp. 101-105. Reprinted in the New Grove volume on the piano.
5. “Schubert,” 34,000 words in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie ( London , 2000 and online).
6. “Keyboard Music: 1) The advent of the Piano; 2) The Classical sonata; 3) Romanticism and the miniature; 4) The age of virtuosity; 5) 19th-century national trends. 10,300 words in The New Grove Dictionary of Music and Musicians (New York/London, 2000 and online). Expanded revision of item #2.
评论文章
1. “Performing Nineteenth-Century Music on Nineteenth-Century Instruments” in Nineteenth-Century Music, Vol. I, No. 2 (1977), pp. 163-75.
2. “Cataloguing Schubert” in Nineteenth-Century Music, Vol. III, No. 2 (1979), pp. 154-62 (includes discussion and analysis of Hilmar and new Deutsch catalogues).
3. “The Emperor’s New Clothes: Nineteenth-Century Instruments Revisited” in Nineteenth-Century Music, Vol. VII, No. 3 (1984), pp. 251-65.
4. “Romantic Pianism and Modern Performance Re-visited” (based on a review of Kenneth Hamilton’s After the Golden Age: Romantic Pianism and Modern Performance in Performance Practice Review (online, 2009).
委约回应文章
1. “Reply to William S. Newman” in The Musical Quarterly, Vol. LXV (1979), pp. 111-16.
2. “The Continuing Schubert Controversy” (with Harry Goldschmidt) in Nineteenth-Century Music, Vol. IX (1985), pp. 70-77.
2. Winter, R., “Reply to Barry Cooper,” in Journal of the Royal Musical Association, Vol. 117 (1992), pp. 324-30.
3. Winter, R., “Reply to Bathia Churgin,” in Journal of the American Musicological Society, Vol. XLVI (1993), pp. 160-63.
评论
1. Performing Practices in Beethoven’s Piano Sonatas by William S. Newman ( London , 1972) in The Musical Times, Vol. 115 (1974), pp. 750-51.
2. Ludwig van Beethoven: Ein Skizzenbuch zu den Diabelli-Variationen und zur Missa Solemnis, SV 154. Ed. Joseph Schmidt-Gorg. Vol. I: Faksimile. Vol. II: Ubertragung. (Bonn: Verlag des Beethovenhauses, 1968-72). In the Journal of the American Musicological Society, Vol. XVIII (1975), pp. 135-38.
3. Staatsbibliothek Preussischer Kulturbesitz. Musikabteilung. Beethoven. Autographe und Abschriften. Catalog by Hans-Gunter Klein ( Berlin , 1975). In Notes of the Music Library Association, Vol. 32 (1976), pp. 747-49.
4. Ludwig van Beethovens Konversationshefte. Band 6. Edited by Karl-Heinz Kohler and Grita Herre in collaboration with Heinz Schony. (VEB Deutscher Verlag fur Musik, 1974). In Notes of the Music Library Association, Vol. 32 (1976), pp. 749-51.
5. Beethoven by Maynard Solomon (New York, 1977) in Notes of the Music Library Association, Vol. 34 (1978), pp. 847-50.
6. Werkverzeichnis Anton Bruckner by Renate Grasberger (Tutzing, 1977) in Notes of the Music Library Association, Vol. 35 (1979), pp. 640-41.
7. Beitrage zur Beethoven-Bibliographie. Studien und Materialien zum Werkverzeichnis von Kinsky-Halm. Ed. Kurt Dorfmuller ( Munich , 1978). In Notes of the Music Library Association, Vol. 36 (1980), pp. 884-86.
8. Jacques Offenbach. Hoffmanns Erzahlungen. Quellenkritische Neuausgabe von Fritz Oeser (Kassel, 1977). In Notes of the Music Library Association, Vol. 39 (1983), pp. 937-39.
by J. Rigbie Turner (New York, 1982). In Notes of the Music Library Association, Vol. 39 (1983), pp. 851-53.
10. Contemplating Music: Challenges to Musicology by Joseph Kerman. In The New York Review of Books, Vol XXXII (1985), pp. 23-27.
11. Katalog. Sammlung van Hoboken. Bd. 2. Ludwig van Beethoven. Werke mit Opuszahl. Bearbeitet by Karin Breitner and Thomas Leibnitz (Tutzing, 1983). In Notes of the Music Library Association, Vol. 43 (1986), p. 41.
12. Untersuchungen zur Credo-Fuge der Missa Solemnis von Ludwig van Beethoven by Otto Zickenheiner (Munich, 1984). In the Journal of the American Musicological Society, Vol. XLI (1988), pp. 186-94.
13. The London Pianoforte School , General Editor Nicholas Temperley (New York & London, 1984-85). Vols. 2,3,5,6,8,10,17,18. In Notes of the Music Library Association, Vol. 44 (1988), pp. 798-804.
14. Barry Cooper, Performing Edition to Beethoven Symphony No. 10 ( London : Alfred Kalmus, 1990. In Notes of the Music Library Association, Vol. 51 (1995), pp. 1459-61).
15. Charles Rosen, Piano Notes ( New York , 2002). In The New York Review of Books, Vol. LI (2004), 24-28.
16. Joseph Horowitz, Classical Music in America : A History ( New York , 2005, rev. 2007) in American Music, Vol 27 (Fall 2009), pp. 374-78.
交互式CD-ROM/DVD-ROM程序
1. Robert Winter, Ludwig van Beethoven. Symphony No. 9. CD Companion. Published by the Voyager Company, Santa Monica , CA , 1989.
2. Robert Winter, Igor Stravinsky. The Rite of Spring. CD Companion. Published by the Voyager Company, Santa Monica , CA , 1991.
3. Robert Winter, Wolfgang Amadeus Mozart. String Quartet in C Major, K. 465, “Dissonant.” CD Companion. Published by the Voyager Company, Santa Monica , CA , 1992. Three formats: Stand-alone videodisc; interactive videodisc and CD-ROM; interactive CD-ROM.
4. Robert Winter, Antonin Dvorak, Symphony in E Minor, Op. 95, “From the New World .” Published by the Voyager Company, New York , N.Y. , 1994.
5. Robert Winter, Robert Winter’s Crazy for Ragtime. Published by Calliope Media, Santa Monica , CA , 1996. Reviews in Newsweek and elsewhere.
6. Robert Winter, Interactive Tchaikovsky / Interactive Perlman - Author of a multi-part interactive program featuring Itzhak Perlman in a performance of Tchaikovsky’s Violin Concerto. Published 1997 by EMI Records.
[Extensive articles, reviews, and citations of these first six titles in the New York Times, Los Angeles Times, The Wall Street Journal, U.S. News and World Report, Newsweek Magazine, Wired Magazine, People Magazine, major technology trade magazines, and elsewhere.]
7. Robert Winter, Inside the Bartók Quartets: A Performer’s Guide. With the Emerson Quartet, sponsored and funded by Carnegie Hall. Includes more than 475 individual coachings, full interactive notation, almost 300 hot-linked index terms and concepts, and extensive interviews with those who knew Bartók (Ivan Waldbauer, György Sandor) and pioneered his music (Robert Mann, Benjamin Suchoff). Completed in 2005; published by Carnegie Hall in early 2006 as an interactive website.
(http://performanceguides.carnegiehall.org/Bartok/).
8. Robert Winter, From the New World: A Celebrated Composer’s American Sojourn. Interactive DVD-ROM funded by the National Endowment for the Humanities. Inspired by the Czech composer Antonín Dvorák’s visit to America during the 1890s and using item #4 above as a starting point,, it encompasses a vast range of American cultural history at the turn of the century, including numerous styles of both popular and concert music. The program contains more than 500 sound files (almost 200 recorded by Mr. Winter on piano, as well as the actual voices of several participants in Dvorák’s stay), more than a thousand images and videos (both period and current, from New York to Prague), interviews with major Dvorák scholars such as Michael Beckerman, 225,000 words of primary sources from a broad range of personalities active during Dvorák’s New York stay, and an equal amount of Winter’s commentary. Published in March 2008 (available at http://www.artsinteractive.org).
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