具体描述
This original, graphic-led book explores and explains the key ideas underpinning the world’s greatest classical compositions and musical traditions, defines their importance to the musical canon, and places them into their wider social, cultural, and historical context.
The nineteenth title in DK’s bestselling Big Ideas series, The Classical Music Book combines accessible, authoritative text with bold explanatory graphics to make the subject of classical music approachable to readers with an interest in the subject who want to learn more while still offering enough to appeal to music aficionados.
From early devotional works to the great symphonies of the Classical and Romantic eras and the diverse and often challenging works of the modern era, The Classical Music Book looks at more than 90 key pieces of music and explores the salient themes and ideas behind each of them.
作者简介
DK was founded in London in 1974 and is now the world leading illustrated reference publisher and a member of the Penguin Random House division of Bertelsmann. DK publishes highly visual, photographic non-fiction for adults and children. DK produces content for consumers in over 100 countries and over 60 languages, with offices in the UK, India, US, Germany, China, Canada, Spain and Australia.
DK's aim is to inspire, educate and entertain readers of all ages, and everything DK publishes, whether print or digital, embodies the unique DK design approach. DK brings unrivaled clarity to a wide range of topics, with a unique combination of words and pictures, put together to spectacular effect. We have a reputation for innovation in design for both print and digital products.
Our adult range spans travel, including the award-winning DK Eyewitness Travel Guides, history, science, nature, sport, gardening, cookery and parenting.
DK’s extensive children’s list showcases a fantastic store of information for children, toddlers and babies. DK covers everything from animals and the human body, to homework help and craft activities, together with an impressive list of licensing titles, including the best-selling LEGO® books.
DK acts as the parent company for Alpha Books, publisher of the Idiot's Guides series.
目录信息
18 EARLY MUSIC: 1000--1400
22 Psalmody is the weapon of the monk
24 Ut, re, mi, fa, sol, la
26 We should sing psalms on a ten-string psaltery
28 To sing is to pray twice
32 Tandaradei, sweetly sang the nightingale
36 Music is a science that makes you laugh, sing, and dance
38 RENAISSANCE: 1400--1600
42 Not a single piece of music composed before the last 40 years is worth hearing
43 Tongue, proclaim the mystery of the glorious body
44 Hear the voyce and prayer
46 The eternal father of Italian music
52 That is the nature of hymns---they make us want to repeat them
54 All the airs and madrigals ... whisper softness
55 This feast... did even ravish and stupefie all those strangers that never heard the like
56 My lute, awake!
58 BAROQUE: 1600--1750
62 One of the most magnificent and expensefull diversions
64 Music must move the whole man
70 Lully merits with good reason the title of prince of French musicians
72 He had a peculiar genius to express the energy of English words
78 The object of churches is not the bawling of choristers
80 The new Orpheus of our times
82 The uniting of the French and Italian styles must create the perfection of music
84 What the English like is something they can beat time to
90 Do not expect any profound intention, but rather an ingenious jesting with art
92 Spring has come, and with it gaiety
98 The end and final aim of all music should be none other than the glory of God
106 Telemann is above all praise
107 His whole heart and soul were in his harpsichord
108 Bach is like an astronomer, who ... finds the most wonderful stars
112 CLASSICAL: 1750--1820
116 Its forte is like thunder, its crescendoa cataract
118 The most moving act in all of opera
120 We must play from the soul, not like trained birds
122 I was forced to become original
128 The most tremendous genius raised Mozart above all masters
132 The object of the piano is to substitute one performer for a whole orchestra
134 We walk, by the power of music, in joy through death's dark night
138 I live only in my notes
142 ROMANTIC: 1810--1920
146 The violinist is that peculiarly human phenomenon ... half tiger, half poet
148 Give me a laundry list, and I will set it to music
149 Music is truly love itself
150 No one feels another's grief, no one understands another's joy
156 Music is like a dream. One that I cannot hear
162 Instrumentation is at the head of the march
164 Simplicity is the final achievement
166 My symphonies would have reached Opus 100 if I had written them down
170 The last note was drowned ... in a unanimous volley of plaudits
174 I love Italian opera---it's so reckless
176 Who holds the devil, let him hold him well
178 And the dancers whirl around gaily in the waltz's giddy mazes
179 I live in music like a fish in water
180 Opera must make people weep, feel horrified, die
188 He ... comes as if sent straight from God
190 The notes dance up there on the stage
192 A symphony must be like the world. It must contain everything
194 Emotional art is a kind of illness
198 If a composer could say what he had to say in words, he would not bother saying it in music
202 NATIONALISM: 1830--1920
206 My fatherland means more to me than anything else
207 Mussorgsky typifies the genius of Russia
208 I am sure my music has a taste of cod fish in it
210 I wanted to do something different
212 The music of the people is like a rare and lovely flower
216 Music is a language of the intangible
218 The art of music above all the other arts is expression of the soul
220 I am a slave to my themes, and submit to their demands
222 Spanish music with a universal accent
223 A wonderful maze of rhythmical dexterities
224 MODERN: 1900--1950
228 I go to see the shadow you have become
232 I want women to turn their minds to big and difficult jobs
240 An audience shouldn't listen with complacency
246 I haven't understood a bar of music in my life, but I have felt it
252 And ever winging up and up, our valley is his golden cup
254 Stand up and take your dissonance like a man
256 I have never written a note I didn't mean
258 Life is a lot like jazz it's better when you improvise
262 A mad extravaganza at the edge of the abyss
263 I come with the youthful spirit of my country, with youthful music
264 Musically, there is not a single center of gravity in this piece
266 The only love affair I ever had was with music
268 Science alone can infuse music with youthful vigor
270 A nation creates music. The composer only arranges it
272 I detest imitation. I detest hackneyed devices
273 Balinese music retained a rhythmic vitality both primitive and joyous
274 Real music is always revolutionary
280 My music is natural, like a waterfall
282 Never was I listened to with such rapt attention and comprehension
284 I must create order out of chaos
286 The music is so knit ... that it takes you in very strong hands and leads you into its own world
288 Composing is like driving down a foggy road
294 CONTEMPORARY
298 Sound is the vocabulary of nature
302 I can't understand why people are frightened of new ideas; I'm frightened of the old ones
306 He has changed our view of musical time and form
308 The role of the musician ... is perpetual exploration
309 Close communion with the people is the natural soil nourishing all my work
310 I was struck by the emotional charge of the work
312 Once you become an ism, what you're doing is dead
314 I desire to carve ... a single painful tone as intense as silence itself
316 In music ... things don't get better or worse: they evolve and transform themselves
318 If you tell me a lie, let it be a black lie
320 The process of substituting beats for rests
321 We were so far ahead ... because everyone else stayed so far behind
322 This must be the first purpose of art ... to change us
323 I could start out from the chaos and create order in it
324 Volcanic, expansive, dazzling---and obsessive
325 My music is written for ears
326 Blue ... like the sky. Where all possibilities soar
328 The music uses simple building blocks and grows organically from there ...
329 This is the core of who we are and what we need to be
330 Directory
340 Glossary
344 Index
351 Quote Attributions
352 Acknowledgments
· · · · · · (收起)
读后感
DK Music看完，目前看的最累的一个，主要靠各位大师的八卦坚持下去。 比如谁谁小时候不是学音乐的，家里非让学习金融，工程，法律啥的。比如谁谁还跟谁谁私奔了啥的，哪几首曲子就是这个期间写的。谁谁娶了自己老师的女儿。 艺术真是一件需要天分和努力的事业，佩服各位大师，...
DK Music看完，目前看的最累的一个，主要靠各位大师的八卦坚持下去。 比如谁谁小时候不是学音乐的，家里非让学习金融，工程，法律啥的。比如谁谁还跟谁谁私奔了啥的，哪几首曲子就是这个期间写的。谁谁娶了自己老师的女儿。 艺术真是一件需要天分和努力的事业，佩服各位大师，...
DK Music看完，目前看的最累的一个，主要靠各位大师的八卦坚持下去。 比如谁谁小时候不是学音乐的，家里非让学习金融，工程，法律啥的。比如谁谁还跟谁谁私奔了啥的，哪几首曲子就是这个期间写的。谁谁娶了自己老师的女儿。 艺术真是一件需要天分和努力的事业，佩服各位大师，...
DK Music看完，目前看的最累的一个，主要靠各位大师的八卦坚持下去。 比如谁谁小时候不是学音乐的，家里非让学习金融，工程，法律啥的。比如谁谁还跟谁谁私奔了啥的，哪几首曲子就是这个期间写的。谁谁娶了自己老师的女儿。 艺术真是一件需要天分和努力的事业，佩服各位大师，...
DK Music看完，目前看的最累的一个，主要靠各位大师的八卦坚持下去。 比如谁谁小时候不是学音乐的，家里非让学习金融，工程，法律啥的。比如谁谁还跟谁谁私奔了啥的，哪几首曲子就是这个期间写的。谁谁娶了自己老师的女儿。 艺术真是一件需要天分和努力的事业，佩服各位大师，...
用户评价
作为一个已经听了许多年古典音乐的爱好者，我原以为市面上这类书籍都已把所有内容嚼烂了，不会再有什么新意。但我对这本书的评价是：它提供了新的视角和更深层次的语境。很多我们习以为常的“名曲”，这本书却能从一个非常规的角度去挖掘其革命性或历史意义。它没有简单地罗列“哪个作品最重要”，而是着重探讨了“音乐体裁是如何演变的”。它花了大量的篇幅去剖析奏鸣曲式的内在张力是如何从海顿时代逐渐酝酿，最终在贝多芬那里爆发，并又在勃拉姆斯那里得到了复兴与重塑的过程。这种对音乐“结构演化史”的关注，远比单纯介绍某位作曲家的作品年表要高明得多。此外，书中关于二十世纪音乐的论述也相当精彩，它没有一笔带过，而是认真梳理了无调性音乐、序列主义乃至极简主义兴起的内在逻辑，这对于很多习惯了调性音乐的听众来说，无疑是一次理性的洗礼。这本书成功地让我重新审视了古典音乐的“经典”二字，理解了它们之所以成为经典，并非靠时间沉淀，而是靠其内在结构和思想的持续生命力。
最令我感到惊喜的是，这本书不仅仅关注了欧洲古典音乐的主流叙事，它在某些章节还非常到位地引入了对地域性或被边缘化的音乐流派的关注，这使得整体的视野开阔了很多。它没有局限于维也纳的黄金时代，而是将目光投向了东欧民族乐派的蓬勃发展，以及斯堪的纳维亚地区那些充满自然气息的交响诗篇。这种多元化的叙事策略，极大地丰富了我对“古典音乐”这个标签的理解，打破了原先那种以德奥为中心的狭隘认知。书中对特定乐器发展史的插入式介绍也做得极其出色，比如对钢琴制造工艺的演变如何推动了李斯特等演奏家技巧的突破，这展示了技术进步在艺术史中的关键作用。整本书读下来，给人一种强烈的“完整感”，仿佛作者为我们精心绘制了一幅从文艺复兴晚期到二十世纪中叶的宏大而细致的音乐地图，标注清晰，路径分明。它不仅教会我如何欣赏音乐，更教会了我如何去研究和探索音乐的无穷魅力。
这本书的排版设计简直是为现代读者量身定制的，它成功地将严肃的音乐史知识以一种近乎杂志的流畅感呈现出来。我特别欣赏它对“跨界”的介绍，这绝非简单的拼凑，而是有逻辑地展现了音乐如何影响其他艺术形式，以及如何被技术变革所塑造。比如，书中有一段精彩的论述，将瓦格纳的“主导动机”概念与后世电影配乐的叙事手法进行了类比，瞬间打通了我理解歌剧结构时常常遇到的障碍。再比如，它对录音技术发展如何反过来影响了作曲家对作品的构思进行了深入探讨，这一点非常具有洞察力，因为它揭示了媒介与艺术形式之间并非单向关系。这本书的语言风格非常鲜活，丝毫没有那种沉闷的学术腔调，作者似乎总能找到最精准、最生动的比喻来描绘抽象的音乐概念，比如将管弦乐配器比喻为一场精心编排的“色彩游戏”，这让即便是初次接触管弦乐配器法的读者也能迅速把握其精髓。我愿意称之为一本“可以阅读的音乐会”。
说实话，我最初拿到这本书时，心里是有些打鼓的，毕竟“经典”二字往往意味着枯燥和学院派的腔调，我担心它会是一本堆砌着难以理解的音乐分析术语的“天书”。然而，事实证明我的担忧是多余的。这本书最成功的地方在于，它找到了平衡点——既保持了学术上的严谨性，又确保了对普通乐迷的友好度。它巧妙地将作曲家的生平和创作背景融入到作品的解析中，使得音乐不再是脱离现实的抽象声音，而是那个时代社会、政治甚至个人情感的直接投射。例如，它对德彪西印象派音乐的解读，完全避开了生硬的乐理分析，而是用丰富的色彩和光影的意象去描述那些模糊、流动的和声色彩，这简直是文学性的胜利。每次读完一章，我都会立刻去重听相关的交响曲或奏鸣曲，然后会发现自己过去错过了多少细节和微妙的情感变化。这种“读——听——再读”的循环学习体验，让古典音乐的欣赏变得像一场充满惊喜的探险，而不是一次单向度的信息灌输。我甚至开始对一些平时不太关注的作曲家，比如西贝柳斯或马勒，产生了浓厚的兴趣，这完全是这本书的功劳。
这部作品简直是打开了我对古典音乐世界的一扇全新大门，我原本以为自己对巴赫、莫扎特和贝多芬这些名字有所了解，但这本书的深度和广度完全超出了我的预期。它不仅仅是一本简单的“听什么”的指南，更像是一部详尽的音乐编年史，将那些晦涩难懂的术语和复杂的历史背景以一种极其优雅且引人入胜的方式呈现出来。作者在介绍巴洛克时期时，那种对复调音乐精妙结构的剖析，让我对赋格曲的复杂织体有了前所未有的理解，仿佛能亲眼目睹巴赫如何如同一个技艺精湛的钟表匠，将无数独立声部精确地编织在一起。接着，当我翻到浪漫主义篇章时，那种强烈的情感冲击力简直要溢出纸面。肖邦的夜曲不再只是优美的旋律，而是被赋予了深深的个人挣扎与乡愁；李斯特的炫技作品也清晰地揭示了它们背后蕴含的浪漫主义哲学思辨。这本书的排版和配图也极为考究，那些老照片、乐谱手稿的局部特写，都极大地增强了阅读的沉浸感，让人感觉手中捧着的不是一本冰冷的参考书，而是一件珍贵的艺术品。对于任何想要从“随便听听”跨越到“真正聆听”的人来说，这本书绝对是不可或缺的入门砖和进阶指南。
希望赶紧出中文版！
歌单有参照了
希望赶紧出中文版！
歌单有参照了
希望赶紧出中文版！
