艺术家作品中的流行来源 [3]
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关键词:Popular Sources启蒙运动
摘要:这篇作业主要讲的是艺术家作品中的流行来源。介绍了流行来源之前主要是民间艺术及原始作品。但是随着社会的变化以及各种革命事件的发生导致了流行来源主要是根据当代自身所处情况的有感而发。
ted a 'tribal' sound, reminiscent of a drum that might be played in a ritual. These two techniques are some of the elements that constitute the concept of 'tone painting,' which induced in the mind of the listener the physical tensions within the music; this challenged the idea of, 'absolute music, which is to be appreciated in its own rights without reference to anything other than itself.' This is typified in Beethoven's 6th Symphony (Pastoral), 1808 with its exploration of the natural world, based almost completely on folk music and is considered to be specifically themed and was 'intended to evoke within the listener a depiction of an image, scene or story.'
Stravinsky's Le Sacre du printemps, 1912 demonstrated his belief that, 'there is no life without pulse', with its 'pulsating violent energy,' strong, repetitive rhythm of the ostinati, punctuated with irregular accents. The choreography by Vaslav Nijinsky, like the music had clear 'primitive' influences, contrasting against the articulate vocabulary of Classical ballet with use of 'Dalcroze Eurythmics,' a system of raw and expressive bodily movements, 'Nijinsky created in Le Sacre a coherent system of ritual dance.' The controversy of the 'primitive' costumes; awkward, and ungraceful, drew influence from folk art, and subverted the expectations of the audience. They appeared on stage as 'knock-kneed and long braided Lolitas jumping up and down.' The combination of these 'primitive' styles provoked violent reactions from its audience and critics and represented a strong contrast and move away from the Classical standards of music and ballet.
Bartók, like Stravinsky drew from folk music, in his particular case, he considered the music of his Hungarian homeland. He desired to 'collect the most beautiful folk songs and elevate them to the level of the art song by providing them with the very best possible piano accompaniments' in order to ensure that the rest of the world would 'get to know Hungarian folk music.' Bartók integrated his folk influences, and the inherently different style and tonality into his own style, and in Allegro Barbaro, 1911, we can see a similar use of ostinati to Stravinsky; the strong rhythmic element and uncomfortable registers of the works responded to Impressionist style of preceding composers such as Debussy.
The Enlightenment had tried to define the arts, and to create a hierarchy, which did not acknowledge craft or art created without professional training as 'high art'; painting and sculpture represented quality culture, however design and craft did not. William Morris, founder of the Arts and Crafts Movement in the late 19th century was a great critic of the industrial revolution and the urbanism of the world around him and represented the second generation of cultural thinkers after The Romantics who opposed the Enlightenment views on art and, 'rejected this opulence in favor of simplicity, good craftsmanship, and good design.' Morris founded the Movement in response to the mass, factory-produced work that he viewed in the Great Exhibition of 1851, in order to move away from the industrialised direction that he felt art was moving towards. Instead, Morris considered Medieval works which possessed a spirituality and individuality about them believing that 'a work of utility might also be a work of art, if we cared to make it so.'
Morris and his company, Morris & Co. began to experiment w
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