2011-04-07 14:08:40, 回應(1), 人氣(2763)III.Renaissance Sculpture,Painting,and Architecture
□ Classical models of beauty
* Nude statues based on Greek ideals (see HWM Figure 7.1) depicted the beauty of the human figure,as opposed to human shame in medieval art.
* Classical Greek and Roman styles were use to portray Christian themes.
文藝復興時在雕刻,繪畫,建築上西洋古典時期藝術環境密切.西洋希臘羅馬之下所崇尚美學復興再生起來.希臘人崇尚人體裸體美學雕像文藝復興的雕刻不再表現聖人與天使，人像看來也更有生氣十五世紀的青銅裸体「大衛像」，是第一個獨立於建築外的雕刻作品。這是中世紀不被尊崇的因當時是令人感到羞的而在文藝復興又把希臘美學又復興起來義大利15世紀雕刻家把人體美 充分表達出來,但在音樂方面希臘時沒被留下來,因為當時皆以口耳相傳沒文憲記載,所以沒被復興出來.
□ Realistic depictions in painting
l Perspective,a method of showing three dimensions on a flat surface by orienting objects on a sing point with Vanishing lines toward it, made more-realistic images possible.
□ Interest in individuals開始對個人的重視
中世紀大多化神為主而非畫人物為素材所以人物在中世紀並不受重視的.
l 音域的擴張,高低音的對比與較豐富的織體
l 較親溪的音樂結構 through 終止與風格的對比
l Focusing on a single vanishing point in perspective.
l Interest in individuals is reflected in 獨特的個人風格與紀念性的作品出現.
IV.The Musical Renaissance (contd.)
*Noblewomen and Women in convents received some musical instyuction.
英國,法國, 義大利風格在15世紀溶解成國際語言.
* without access to examples from ancient Greecc,”the arranging of ,”I,e., counterpoint ,
3.Gioseffo Zarlino’s Le istitutioni harmoniche (the Harmonic Foundations,1558) synthesizes
音樂美學理論音樂理論Tinctoris 複調音樂,這新的文藝復興之後很重要,寫出對位法不和諧與合諧的原則.Zarlino’s和聲原則又提昇了Tinctoris更完善的表達.
*所有聲部的均等by the second half of the fifteeth century.
*Two textures emerged分為兩個織體:模仿對位imitative counterpoint & 主調音樂織體homophony.
□ Imitative counterpoint 模仿對位
*voices echo each other,repeating a motive phrase.
*Repetitions are usually a fourth ,fifth,or octave away.
不反覆動機但每聲部都已4度.5度.8度 不同部模仿對位
□ Homophony主調音樂織體
*所有聲部以同等節奏一起進行.
*低音部以和諧音伴奏高音部.
Chromaticism, inspired by the chromatic genus of ancient Greek music.
□ Music printing and distribution (pages 164-65)
*Printing from movable type began around 1450 for text and in the 1470s for chant notation.
*Petrucci 1501
音樂的印刷15世紀中期
用活字的印刷15世紀晚期已用在音樂上
單版印刷也很成功,有傳播上的重要性.
, 2011-04-14 16:11:30) 