新标准大学英语综合教程3课文原文

Wealllistentomusicaccordingtoourseparatecapacities.But,forthesakeofanalysis,thewholelisteningprocessmaybecomeclearerifwebreakitupintoitscomponentparts,sotospeak.Incertainsensewealllistentomusiconthreeseparateplanes.Forlackofabetterterminology,onemightnamethese:1)thesensuousplane,2)theexpressiveplane,3)thesheerlymusicalplane.Theonlyadvantagetobegainedfrommechanicallysplittingupthelisteningprocessintothesehypotheticalplanesistheclearerviewtobehadofthewayinwhichwelisten.Thesimplestwayoflisteningtomusicistolistenforthesheerpleasureofthemusicalsounditself.Thatisthesensuousplane.Itistheplaneonwhichwehearmusicwithoutthinking,withoutconsideringitinanyway.Oneturnsontheradiowhiledoingsomethingelseandabsent-mindedlybathesinthesound.Akindofbrainlessbutattractivestateofmindisengenderedbythemeresoundappealofthemusic.Thesurprisingthingisthatmanypeoplewhoconsiderthemselvesqualifiedmusicloversabusethatplaneinlistening.Theygotoconcertsinordertolosethemselves.Theyusemusicasaconsolationoranescape.Theyenteranidealworldwhereonedoesn’thavetothinkoftherealitiesofeverydaylife.Ofcoursetheyaren’tthinkingaboutthemusiceither.Musicallowsthemtoleaveit,andtheygoofftoaplacetodream,dreamingbecauseofandaproposofthemusicyetneverquitelisteningtoit.Yes,thesoundappealofmusicisapotentandprimitiveforce,butyoumustnotallowittousurpadisproportionateshareofyourinterest.Thesensuousplaneisanimportantoneinmusic,averyimportantone,butitdoesnotconstitutethewholestory.ThesecondplaneonwhichmusicexistsiswhatIhavecalledtheexpressiveone.Here,immediately,wetreadoncontroversialground.Composershaveawayofshyingawayfromanydiscussionofmusic’sexpressiveside.DidnotStravinskyhimselfproclaimthathismusicwasan“object”,a“thing”,withalifeofitsown,andwithnoothermeaningthanitsownpurelymusicalexistence?ThisintransigentattitudeofStravinsky’smaybeduetothefactthatsomanypeoplehavetriedtoreaddifferentmeaningsintosomanypieces.Heavenknowsitisdifficultenoughtosaypreciselywhatitisthatapieceofmusicmeans,tosayitdefinitelytosayitfinallysothateveryoneissatisfiedwithyourexplanation.Butthatshouldnotleadonetotheotherextremeofdenyingtomusictherighttobe“expressive”.Listen,ifyoucan,tothe48fuguethemesofBach’sWell-temperedClavichore.Listentoeachtheme,oneafteranother.Youwillsoonrealizethateachthememirrorsadifferentworldoffeeling.Youwillalsosoonrealizethatthemorebeautifulathemeseemstoyoutheharderitistofindanywordthatwilldescribeittoyourcompletesatisfaction.Yes,youwillcertainlyknowwhetheritisagaythemeorasadone.Youwillbeable,onotherwords,inyourownmind,todrawaframeofemotionalfeelingaroundyourtheme.Nowstudythesadonealittlecloser.Trytopindowntheexactqualityofitssadness.Isitpessimisticallysadorresignedlysad;isitfatefullysadorsmilinglysad?Letussupposethatyouarefortunateandcandescribetoyourownsatisfactioninsomanywordstheexactmeaningofyourchosentheme.Thereisstillnoguaranteethatanyoneelsewillbesatisfied.Norneedtheybe.Theimportantthingisthateachonefeelsforhimselfthespecificexpressivequalityofathemeor,similarly,anentirepieceofmusic.Andifitisagreatworkofart,don’texpectittomeanexactlythesamethingtoyoueachtimeyoureturntoit.Thethirdplaneonwhichmusicexistsisthesheerlymusicalplane.Besidesthepleasurablesoundofmusicandtheexpressivefeelingthatitgivesoff,musicdoesexistintermsofthenotesthemselvesandoftheirmanipulation.Mostlistenersarenotsufficientlyconsciousofthisthirdplane.Itisveryimportantforallofustobecomemorealivetomusiconitssheerlymusicalplane.Afterall,anactualmusicalmaterialisbeingused.Theintelligentlistenermustbepreparedtoincreasehisawarenessofthemusicalmaterialandwhathappenstoit.Hemusthearthemelodies,therhythms,theharmonies,thetonecolorsinamoreconsciousfashion.Butaboveallhemust,inordertofollowthelineofthecomposer’sthought,knowsomethingoftheprinciplesofmusicalform.Listeningtoalloftheseelementsislisteningtothesheerlymusicalplane.LetmerepeatthatIhavesplitupmechanicallythethreeseparateplanesonwhichwelistenmerelyforthesakeofgreaterclarity.Actually,weneverlistenononeortheotheroftheseplanes.Whatwedoistocorrelatethem—listeninginallthreewaysatthesametime.Ittakesnomentaleffort,forwedoitinstinctivelyPerhapsananalogywithwhathappenstouswhenwevisitthetheaterwillmakethisinstinctivecorrelationclearer.Inthetheater,youareawareoftheactorsandactresses,costumesandsets,soundsandmovements.Allthesegiveonethesensethatthetheaterisapleasantplacetobein.Theyconstitutethesensuousplaneinourtheatricalreactions.Theexpressiveplaneinthetheaterwouldbederivedfromthefeelingthatyougetfromwhatishappeningonthestage.Youaremovedtopity,excitement,orgaiety.Itisthisgeneralfeeling,generatedasidefromtheparticularwordsbeingspoken,acertainemotionalsomethingwhichexistsonthestage,thatisanalogoustotheexpressivequalityinmusic.Theplotandplotdevelopmentisequivalenttooursheerlymusicalplane.Theplaywrightcreatesanddevelopsacharacterinjustthesamewaythatacomposercreatesanddevelopsatheme.Accordingtothedegreeofyourawarenessofthewayinwhichtheartistineitherfieldhandleshismaterialwillyoubecomeamoreintelligentlistener.Itiseasyenoughtoseethatthetheatergoerneverisconsciousofanyofthes