亚利桑那Assignment代写:纯音乐

2017-03-23 10:19

举个例子，瓦格纳对特里斯坦与伊索尔德，尼采称玄学，一项绝对音乐密切相关，没有纲领性的工作。哲学家Carl Dalhaus称张纯音乐，还有一个问题，无论是瓦格纳还是尼采视片等。瓦格纳的早期作品在绝对音乐主题集他反对这样的说法，如果tristain和伊索德是基于其形而上的议程将是一个可以说是绝对的讽刺片，瓦格纳并不认为他的工作绝对。尼采指出，“…你听不到tristain与伊索尔德绝对音乐；而音乐戏剧介导的言行绝对。事实上，特里斯坦与伊索尔德，正如John Deathridge指出的，是在叔本华绝对音乐感的一个几乎完美的寓言：在歌剧中，伊索尔德淹没在绝对音乐上升，从特里斯坦的灵魂…音乐戏剧因此不是绝对的音乐，但它是有道理的。”[ 13 ]的支持者绝对音乐试图将形式在台座上永生和自我意识的形成是无法在理想的概念化的实现方式。正如尼采使瓦格纳他提出了一些意见，也可以应用于纯音乐和崇高的理想，“…尼采反对“崇拜天才。“一定的艺术形象或其作品被创造作为一种行为或优雅的印象，为纯粹的灵感的结果。”尼采强烈主张的工艺和艺术创作的勤奋工作的重要性。”[ 14 ]尼采地址艺术家尝试绝对音乐，也许傲慢伪装成真诚的审美表达，因为所有的绝对音乐所能做的是只停留在理论的层面上为“[t]他德国的话语周围的装饰和抽象留在更多的理论层面的美学和历史在第十九世纪的大部分时间里。

亚利桑那Assignment代写:纯音乐

Take for example Wagner’s compostition Tristan and Isolde, which Nietzsche calls metaphysical, a term closely associated with Absolute music and not Programmatic work. The philosopher Carl Dalhaus calls the piece absolute music, there is a question as to whether Wagner or Nietzsche viewed the piece as such. Wagner’s earlier writing on the topic of absolute Music sets him against such a claim, if Tristain and Isolde was an arguably absolute piece based upon its metaphysical agenda it would be ironic, Wagner did not consider his work absolute. Nietzsche states, “…you cannot hear Tristain and Isolde as absolute music; rather the music drama mediates the absolute with words and actions. Indeed, Tristan and Isolde, as John Deathridge points out, is an almost ‘perfect allegory of absolute music’ in the Schopenhauerian sense: in the opera, Isolde drowns in the absolute music that rises out from Tristan’s soul…Music drama is therefore not absolute music, but it is justified by it.”[13] Proponents of absolute music attempted to place the form upon a pedestal for immortalization and for this self-awareness came the realization of the forms inability to function in the ideally conceptualized way. As Nietzsche soured on Wagner he made some comments that can also be applied to absolute music and its lofty ideals, “…Nietzsche argues against ‘worshipping the genius.’ Certain artistic figures or their works give the impression of having been created as a kind of act or grace, as the result of pure ‘inspiration.’ Nietzsche argues strongly for the importance of craft and hard work in artistic creation.”[14] Nietzsche addresses the artists attempt at absolute music to be, perhaps, hubris masquerading as sincere aesthetic expression, since all absolute music can do is remain on a theoretical level as “[t]he German discourse surrounding ornament and abstraction remained on the more theoretical level of aesthetics and history through much of the nineteenth century.”

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