推荐回答(3个)
喜欢音乐,尤其纯音乐。前几天整理电脑才发觉音乐收藏里藏着很多绝美的纯音乐,似乎很久没听过了。除了《茶花女》和《蝴蝶夫人》等,还有海顿、莫扎特;除了《高山流水》《渔歌唱晚》,还有《一意孤行》《孤芳自赏》……边选边听的同时,也选喜欢的传给朋友。一如既往的喜欢,一如既往安静地聆听,只是忽而发现,其实并不能完全透析其间的全部内涵。有的只是断章取义。
哀婉的,便顺着其哀婉听下去;激昂的,便跟着那激昂放逐思绪……内中真的有些什么,似懂非懂。方知音乐原来才是最深奥的学问,不敢轻易妄加评论。
最早接触的纯音乐,当时《献给爱丽丝》了。那时似乎刚刚上中学,还带着许多幼稚想法的傻丫头。忽有一日突发奇想,给广播电台的综艺节目主持人寄了一首诗,当然是跟节目有关的。想不到在一个清新怡人的夏日清晨,广播里的主持人竟在节目里读了我的那首诗,背景音乐就是这首《献给爱丽丝》。听不懂音乐中的东西,那优美的旋律从此以后却烂熟于心,直到现在……
曾经一度喜欢那曲《天鹅之死》的音乐,原因却很莫名其妙。上大学时,偶尔一次参加某社团的迎新晚会,一个女孩子在台上朗诵她自己写的,叫做《天鹅》的诗歌,配乐就是《天鹅之死》。其实当时我已记不得那旋律,只记住一个年轻的老师,忽然很激动地走过去,说:我上大学的时候,也曾经用这个曲子做背景,朗诵过自己写的诗。
当时就那样惊讶地看着台上的他们,仿佛看着一段段青春和那青春季节里的故事。我记住了那首曲子的名字:《天鹅之死》。或许,那不仅仅是生命消逝的诠释,也是青春消逝的诠释?
毕业之后的很多个日子,每逢在某处听到这支曲子,都会神奇地想起那天那个台上的场面,尽管平和,却不知是什么在触动我的心。
我是一个活跃的人,因为曾经在校园的许多时光都奔走于各个社团和学生会之间,遇到过很多有故事的人,听着形形色色的故事:简单的、纯净的、忧伤的、或者是悲痛的。慢慢地自己也变成了故事很多的人,总是在不经意的时候,在舒缓或优雅的乐曲中,慢慢回忆着某个故事,有时会潸然泪下,有时也会笑意挂在唇边……
而不得不承认,对于我来说,音乐,抑或对音乐的理解,仍旧是一知半解。我不能全懂,就像读文学作品感同身受的永远只是鸿篇巨制中的一小部分。因为不懂,所以更加朦胧,更加朦胧的音乐,在我的世界里,愈显华丽之美……
从远古纷踏而至,来于“哼唷”流派。河水涨来木排歌;翻山越岭抬木头的号子——圆浑,豪壮,跌宕,激起文明的热忱与传承。
穿过时光隧道,纯自然的天籁降临,先非人为。是一种浑然积极求欲的艺术,回荡空际。
蓄于灵感,冲动,赏心,表达和手段。寓情景,透神情,塑形态。在听觉中揣摩空灵,颜色,情感,内容,对象,功效等都赋予仅仅是某种形式与手段。
七色的泡泡来至于笛孔的颤抖。蜻蜓在泉水的琴键上划过,声波涟漪。蝴蝶斑斓的音符在芬芳的琴弦上舞蹈,原始的音乐在翅膀上轻轻吟唱……
轻轻的吟唱,还在初秋。月圆,清辉,年轻的心在笛孔上驻留,芦笙的旋律中狂躁。栓住好树梢上的月亮,推开虚掩的门闩,情歌在捶布的叮当里撞击,回荡。轻轻剥开煮熟的红薯皮,香甜味里蟋蟀儿在弹琴。
夏天的彩虹歌于生活的汗水,走成秋天男人肩上弧形的扁担,“咿呀”成歌,能在猪嚎鸭叫的温馨中得到宽慰。
显得宽阔的田野,稻草人醒来第一吮吸的是乡村天籁的音乐。絮语绵绵的山涧,弹奏过风雨桥那把老提琴,静静卧着倾听跫足而来的生活节奏。
遐想充满璀璨,在原野,在空旷。联想激荡胸膛,在色彩,在斑斓。情歌由木叶声声传载而来,悦耳,清脆,缠绵,韵味……伫立,你哑然。似有侗族蝉歌的丰盈,欢愉,希望,奔放,朴素自然……
染成黑色的厚实勤劳的性格,戴着银色的音乐装饰。踩堂而来,呐喊而去……
Classical music is a broad term that usually refers to mainstream music produced in, or rooted in the traditions of Western liturgical and secular music, encompassing a broad period from roughly the 9th century to present times.[1] The central norms of this tradition became codified between 1550 and 1900, which is known as the common practice period.
European music is largely distinguished from many other non-European and popular musical forms by its system of staff notation, in use since about the 16th century.[2] Western staff notation is used by composers to prescribe to the performer the pitch, speed, meter, individual rhythms and exact execution of a piece of music. This leaves less room for practices, such as improvisation and ad libitum ornamentation, that are frequently heard in non-European art music (compare Indian classical music and Japanese traditional music) and popular music.[3][4][5]
The public taste for and appreciation of formal music of this type waned in the late 1900s in the United States and United Kingdom in particular.[6] Certainly this period has seen classical music falling well behind the immense commercial success of popular music, in the opinion of some[who?], although the number of CDs sold is not indicative of the popularity of classical music.[7]
The term "classical music" did not appear until the early 19th century, in an attempt to "canonize" the period from Johann Sebastian Bach to Beethoven as a golden age.[8] The earliest reference to "classical music" recorded by the Oxford English Dictionary is from about 1836.[9][10] Many writers feel that "classical" is an inappropriate term for mainstream and avant-garde music written since the latter part of the 19th century; hence the common usage of scare quotes.[11]
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