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音乐图像学是隶属于音乐考古学的分支学科,但从材料性质和研究方法来看,单纯的图像研究与考古实物研究有着很大区别。如今国内音乐图像学的相关研究良莠参差,一些音乐图像学研究中方法论的应用存在问题。译者所选兹德拉夫科.布拉热科维奇的这篇文章可谓音乐图像学研究范本之一。曾担任拉特兰.圣.乔凡尼大教堂内图像设计的弗兰切斯科.比安基尼在其《关于拉特兰圣约翰大教堂绘制乐器图像的讨论与说明》中记录了一种名为“三面里拉琴”①的乐器。本文作者通过相关文字史料和图像的梳理,寻找出有关这件乐器形制及演奏方法的最早描述,并对刊有此乐器图像和文字的资料来源进行甄别,指出:“三面里拉琴”是一件为吸引世人目光而设计产生的乐器,但由于其结构复杂、演奏困难等原因,而未真正参与一个时代的音乐实践,最终被人们所遗忘。
Music imageology belongs to the branch of music archeology, but from the nature of materials and research methods, simple image research and archeology are quite different. Nowadays, there are some problems in the related research of music imageology in China. Some methods of music image research have some problems. The article chosen by the translator, Zdravko Brahikovich, is one of the paradigms of music image research. Francesco, who had worked as a graphic designer at the Rutland St. Giovanni Basilica, recorded a note in his “Discussion and Description of Drawing Instrument Images at St John’s Cathedral in Rutland” Instrument named “Lyrics on three sides ” ①. Through the collection of relevant textual historical materials and images, the author looks for the earliest description of the shape and playing method of this instrument, and scours the source of the images and texts printed on this instrument. He points out that: An instrument designed to attract the attention of the world, but because of its complex structure, difficult to play and other reasons, but not really involved in an era of music practice, and ultimately forgotten by people.