Response: Ovid, Haydn, and the Symbiosis of Music and Metamorphosis

IF 0.4 2区 艺术学 0 MUSIC JOURNAL OF MUSICOLOGICAL RESEARCH Pub Date : 2021-07-03 DOI:10.1080/01411896.2021.1949311
Pierpaolo Polzonetti
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引用次数: 0

Abstract

Music and metamorphosis are symbiotic. It is in part for this reason that the presence of Ovid’s stories from his Metamorphoses have been visited and revisited in music from the Renaissance to the present time. In the eighteenth century, we witness the emergence of a new sensibility that values change, transformation, and ultimately revolution, as part of nature and history, as a manifestation—to summon Lucretius—of the way things are. The penchant for transformation over stasis is typical of a modern forwardlooking attitude, conceptualized by Karol Berger as a preference for the arrow over the circle, which emerged gradually during the eighteenth century. In the second half of the century, Ovid’s works were no longer a goldmine for the extraction of useful myths for opera plots. In fact, as a plot-mine, after a long time of intensive exploitation, Ovid almost dried up. Yet, the Roman poet continued to be present in works, events, and activities that are not necessarily casting Ovid’s heroes and heroines as characters. The practice of reading The Metamorphoses was still widespread in the eighteenth century, motivated by a curiosity not only and not so much for the stories told, but also and especially for the way Ovid tells his stories. Ovid demands from his readers (or listeners) to be imaginative, creative, able and willing to visualize the transformation of matter in their heads. He does so in a way that is akin to the practices of music composition, performance, and listening. Ovid tells stories of metamorphosis in the present tense, with a formidable sense of rhythm and pace, describing bodies in the most economical terms by reducing bodily shapes to elemental forms and qualities of matter (long, short, rough, smooth, whole, fragmented, empty, filled, and so on), moving in space like melodic lines or sonic events (up, down, fading, melting, shrinking, growing, and so on). Ovid’s invention is functional to transformation and development, and the new forms always relate to the original ones before the metamorphosis.
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回应:奥维德、海顿与音乐与蜕变的共生关系
音乐和蜕变是共生的。在某种程度上,正是由于这个原因,从文艺复兴时期到现在,奥维德的《变形记》中的故事在音乐中被反复审视。在18世纪,我们见证了一种新的感性的出现,它重视变化、转变,并最终将革命视为自然和历史的一部分,作为事物存在方式的一种表现——借用卢克莱修的话。对转变而非停滞的偏好是典型的现代前瞻性态度,由卡罗尔·伯杰(Karol Berger)概念化为对箭头而非圆圈的偏好,这种偏好在18世纪逐渐出现。在19世纪下半叶,奥维德的作品不再是为歌剧情节提取有用神话的金矿。事实上,奥维德作为一个情节矿,经过长时间的密集开采,几乎枯竭了。然而,这位罗马诗人继续出现在作品、事件和活动中,这些作品、事件和活动不一定会把奥维德的男女主人公塑造成人物。阅读《变形记》的做法在18世纪仍然很普遍,这不仅是出于对故事的好奇,而且是对奥维德讲述故事的方式的好奇。奥维德要求他的读者(或听众)富有想象力,有创造力,能够并且愿意在他们的头脑中想象物质的转变。他这样做的方式类似于音乐创作、表演和聆听的实践。奥维德用现在时讲述变形的故事,带着一种令人敬畏的节奏感和节奏,用最经济的语言描述身体,将身体形状简化为物质的基本形式和性质(长、短、粗糙、光滑、完整、破碎、空虚、充实等等),像旋律线或声音事件一样在空间中移动(上升、下降、褪色、融化、缩小、增长等等)。奥维德的发明具有转化和发展的功能,新形态总是与变形前的原始形态相联系。
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来源期刊
CiteScore
0.30
自引率
0.00%
发文量
17
期刊介绍: The Journal of Musicological Research publishes original articles on all aspects of the discipline of music: historical musicology, style and repertory studies, music theory, ethnomusicology, music education, organology, and interdisciplinary studies. Because contemporary music scholarship addresses critical and analytical issues from a multiplicity of viewpoints, the Journal of Musicological Research seeks to present studies from all perspectives, using the full spectrum of methodologies. This variety makes the Journal a place where scholarly approaches can coexist, in all their harmony and occasional discord, and one that is not allied with any particular school or viewpoint.
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