2013年自考英語(yǔ)(二)課文譯文:不同類(lèi)型的作曲家

　　不同類(lèi)型的作曲家

　　I can see three different types of composers in musical history, each of whom creates music in a somewhat different fashion.

　　在我看來(lái)，音樂(lè)史上有三類(lèi)不同的作曲家，他們都以各自不同的方式創(chuàng)作音樂(lè)作品。

    The type that has fired public imagination most is that of the spontaneously inspired composer -- the Franz Schubert type, in other words. All composers are inspired, of course, but this type is more spontaneously inspired. Music simply wells out of him. He can't get it down on paper fast enough. You can almost tell this type of composer by his fruitful output. In certain months, Schubert wrote a song a day. Hugo Wolf did the same.

　　最能激發(fā)公眾想象力的作曲家是靠靈感即興創(chuàng)作的類(lèi)型，即弗朗茲?舒伯特型。當(dāng)然，所有的作曲家都受靈感的啟迪，但舒伯特型的作曲家得到的即興靈感更多一些。音樂(lè)就像泉水從他的心中噴涌而出，多得他都來(lái)不及迅速地把樂(lè)譜記到紙上。我們通?？梢愿鶕?jù)曲作多產(chǎn)來(lái)判斷這一類(lèi)型的作曲家。在某些月份里，舒伯特日作一歌;雨果?伍爾夫也是如此。

　　In a sense, men of this kind begin not so much with a musical theme as with a completed composition. They invariably work best in the shorter forms. It is much easier to improvise a song than it is to improvise a symphony. It isn't easy to be inspired in that spontaneous way for long periods at a stretch. Even Schubert was more successful in handling the shorter forms of music. The spontaneously inspired man is only one type of composer, with his own limitations.

　　從某種意義上說(shuō)，這類(lèi)作曲家與其說(shuō)是從某一音樂(lè)主題開(kāi)始創(chuàng)作，倒不如說(shuō)一開(kāi)始他們就有一個(gè)完整的作品。他們總是對(duì)較短篇作曲創(chuàng)作最擅長(zhǎng)。即興創(chuàng)作一首歌曲要比即興創(chuàng)作一部交響樂(lè)容易得多。連續(xù)長(zhǎng)時(shí)間靠靈感進(jìn)行即興創(chuàng)作不是件容易事，即使舒伯特也是在處理較短篇形式的音樂(lè)更得心應(yīng)手?？快`感進(jìn)行即興創(chuàng)作只是作曲家的一種類(lèi)型，并具有其自身的局限性。

　　Beethoven belongs to the second type -- the constructive type, one might call it. This type serves as an example of my theory of the creative process in music better than any other, because in this case the composer really does begin with a musical theme. In Beethoven's case there is no doubt about it, for we have the notebooks in which he put the themes down. We can see from his notebooks how he worked over his themes -- how he would not let them be until they were as perfect as he could make them. Beethoven was not a spontaneously inspired composer in the Schubert sense at all. He was the type that begins with a theme; makes it a preliminary idea; and upon that composes a musical work, day after day, in painstaking fashion. Most composers since Beethoven's day belong to this second type.

　　貝多芬屬于第二種類(lèi)型，我們可以稱(chēng)之為創(chuàng)立型作曲家。這類(lèi)作曲家可以作為例子，更好地說(shuō)明我們的創(chuàng)作過(guò)程的理論，因?yàn)樗麄兇_實(shí)是以音樂(lè)主題開(kāi)始構(gòu)思的。就貝多芬來(lái)說(shuō)，無(wú)疑就是從這樣的音樂(lè)主題開(kāi)始的，我們?nèi)员Ａ糁涗浺魳?lè)主題的筆記本。從他的筆記中，我們可以了解他是怎樣反復(fù)修改他的音樂(lè)主題――他是怎樣盡量使他的音樂(lè)主題完美才肯罷休的。貝多芬不是舒伯特式的即興靈感型的作曲家，他是從音樂(lè)主題開(kāi)始的那種類(lèi)型，再使其成為初步創(chuàng)立型，然后再根據(jù)這一構(gòu)思，日復(fù)一日地苦干，寫(xiě)出一部音樂(lè)作品。貝多芬時(shí)期以來(lái)的多數(shù)作曲家都屬于第二種類(lèi)型。

　　The third type of composer I can only call, for lack of a better name, the traditionalist type. Men like Palestrina and Bach belong in this category. They both are characteristic of the kind of composer who is born in a particular period of musical history, when a certain musical style is about to reach its fullest development. It is a question at such a time of creating music in a well-known and accepted style and doing it in a way that is better than anyone has done it before you.

　　第三種類(lèi)型的作曲家，因缺少更好的稱(chēng)謂，我只好稱(chēng)之為傳統(tǒng)型作曲家。帕萊斯特里納和巴赫屬于這一類(lèi)型。他們二人都是誕生在音樂(lè)史某一時(shí)期的代表作曲家。在這一時(shí)期某種音樂(lè)風(fēng)格即將發(fā)展到其鼎盛階段。這個(gè)時(shí)期的問(wèn)題是用人們熟悉的認(rèn)可的風(fēng)格創(chuàng)作音樂(lè)，并用一種比任何前人更好的方法來(lái)創(chuàng)作音樂(lè)。

　　The traditionalist type of composer begins with a pattern rather than with a theme. The creative act with Palestrina is not the thematic conception so much as the personal treatment of a well-established pattern. And even Bach, who composed forty-eight of the most various and inspired themes in his Well Tempered Clavichord, knew in advance the general formal mold that they were to fill. It goes without saying that we are not living in a traditionalist period nowadays.

　　傳統(tǒng)派作曲家是從主調(diào)而不是從主題開(kāi)始創(chuàng)作的。帕萊斯特里納的創(chuàng)作不是主旋律概念，而是對(duì)確定好的格調(diào)進(jìn)行個(gè)人處理。甚至巴赫事先已知道，他創(chuàng)作的風(fēng)格各異最具有靈感的48首《平均律鋼琴曲》是填入這種總的正式模式的。不言而喻，我們現(xiàn)在已不是生活在傳統(tǒng)派的時(shí)期了。

　　One might add, for the sake of completeness, a fourth type of composer -- the pioneer type: men like Gesualdo in the seventeenth century, Moussorgsky and Berlioz in the nineteenth, Debussy and Edgar Varese in the twentieth. It is difficult to summarize the composing methods of so diversified a group. One can safely say that their approach to composition is the opposite of the traditionalist type. They clearly oppose conventional solutions of musical problems. In many ways, their attitude is experimental ?they seek to add new harmonies, new sonorities, new formal principles. The pioneer type was the characteristic one at the turn of the seventeenth century and also at the beginning of the twentieth century, but it is much less evident today.

　　為了全面起見(jiàn)，還可以加上第四種類(lèi)型的作曲家――開(kāi)拓型作曲家，如17世紀(jì)的杰蘇阿爾多，19世紀(jì)的穆索爾斯其和柏遼茲，以及20世紀(jì)的德彪西和埃德加?瓦雷茲。概括這樣一個(gè)多樣復(fù)雜群體的作曲方法是困難的，但可以肯定地說(shuō)，他們的作曲方法與傳統(tǒng)派型作曲家的恰恰相反。他們明確地反對(duì)用常規(guī)的方法解決音樂(lè)方面的問(wèn)題。在許多方面，他們的態(tài)度是探索性的――他們力圖增加新的合聲，新的音色，并力圖創(chuàng)立新的正規(guī)音樂(lè)理論。開(kāi)拓型作曲家在17世紀(jì)之交和20世紀(jì)初期曾是特點(diǎn)突出的典型，但現(xiàn)在其特點(diǎn)已遠(yuǎn)不如從前那么明顯了。

?2013年7月各省市自考成績(jī)查詢?nèi)肟趨R總

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