介绍西方音乐英语作文带翻译

介绍西方音乐英语作文带翻译
Before 1800
The first studies of Western musical history date back to the middle of the 18th century.G.B.Martini published a three volume history titled Storia della musica(History of Music)between 1757 and 1781.Martin Gerbert published a two volume history of sacred music titled De cantu de musica sacra in 1774.Gerbert followed this work with a three volume work Scriptores ecclesiastici de musica sacra containing significant writings on sacred music from the third century AD onwards in 1784.
1800-1950
In the twentieth century,the work of Johannes Wolf and others developed studies in Medieval music and early Renaissance music.Wolf's writings on the history of musical notation are considered to be particularly notable by musicologists.Historical musicology has played a critical role in renewed interest in Baroque music as well as medieval and Renaissance music.In particular,the authentic performance journals increased to create further outlets for the publication of research.The domination of German language scholarship ebbed as significant journals sprang up throughout
the West,especially America.
According to Richard Middleton,the strongest criticism of(historical)musicology has been that it by and large ignores popular music.Though musicological study of popular music has vastly increased in quantity recently,Middleton's assertion in 1990--that most major"works of musicology,theoretical or historical,act as though popular music did not
exist"--holds***.academic and conservatory training typically only peripherally addresses this broad spectrum of musics,and many(historical)musicologists who are"both contemptuous and condescending are looking for types of production,musical form,and listening which they associate with a different kind of music...'classical music'...and they generally find popular music lacking"He cites three main aspects of this
problem(p.104-6).The terminology of historical musicology is"slanted by the needs and history of a particular
music('classical music')."He acknowledges that"there is a rich vocabulary for certain areas[harmony,tonality,certain
part-writing and forms],important in musicology's typical corpus".
1800年以前，对西方音乐史的第一次研究可以追溯到18世纪中叶。

1757年至1781年间，马丁尼出版了三卷名为《音乐史》(storia
della musica)的历史著作。

1774年，马丁·格伯特出版了两卷本的圣乐史，题为《圣乐之歌》。

在此之后，Gerbert于1784年出版了三卷《圣乐手册》，其中包含了三世纪以来关于圣乐的重要著作。

1800-1950年在二十世纪，约翰尼斯·沃尔夫和其他人的作品发展了对中世纪音乐和早期文艺复兴音乐的研究。

沃尔夫关于音乐记谱法历史的著作被音乐学家认为是特别值得注意的。

历史音乐学在重新引起人们对巴洛克音乐、中世纪音乐和文艺复兴音乐音乐的兴趣方面发挥了重要作用。

特别是，真正的表演运动在很大程度上归功于历史音乐学的学术研究。

到了二十世纪中叶，音乐学(及其最大的历史音乐学分支)作为一个研究领域显著扩大。

同时，音乐学和音乐期刊的数量增加，为发表研究成果创造了更多的渠道。

德国语言学术的统治地位随着重要的期刊在西方尤其是美国的兴起而衰落。

根据理查德·米德尔顿的说法，对(历史)音乐学最强烈的批评是它基本上忽视了流行音乐。

根据理查德米德尔顿，(历史)音乐学最强烈的批评是，它基本上忽视流行音乐。

尽管近年来对流行音乐的音乐学研究大量增加，但米德尔顿在1990年的断言——大多数主要的“音乐学作品，无论是理论上的还是历史上的，都表现得好像流行音乐并不存在”——是站得住脚的。

学术和音乐学院的培训通常只是针对这一广泛的音乐范围，许多(历史)音乐学家“既轻蔑又居高临下地寻找与不同类型的音乐相关的产品类型、音乐形式和听力......‘古典音乐’......他们通常发现流行音乐缺乏”他列举了这个问题的三个主要方面(第104-6
页)。

历史音乐学的术语是“因特定音乐(‘古典音乐’)的需要和历史而倾斜”他承认，“在音乐学的典型语料库中，某些领域(和声、调性、某些部分的写作和形式)有着丰富的词汇量”。