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此部分共[4]页： 1>> 2>> 3>> 4>> 〖Principles of Counterpoint by Alan Belkin〗 Stylistic Assumptions If we are to see counterpoint in this way - as an aspect of composition and not as a self-contained discipline - we must define the limits of our approach. We repeat here some of our remarks in the first book of this series: It is difficult to teach composition without making at least some assumptions about formal requirements. The crux of our argument here is that many basic notions enumerated here result from the nature of musical hearing. Let us make clear some of the assumptions behind the phrase "musical hearing". We assume first that the composer is writing music meant to be listened to for its own sake, and not as accompaniment to something else. This requires, at a minimum, provoking and sustaining the listener's interest in embarking on a musical journey in time, as well bringing the experience to a satisfactory conclusion. Thus, "musical hearing" implies here a sympathetic and attentive listener, at least some of whose psychological processes in listening to the work can be meaningfully discussed in general terms. We will limit our discussion to western concert music. Non-western music, which often implies very different cultural expectations about the role of music in society or its effect on the individual, is thus excluded from our discussion. Further, although some of the notions presented here may also apply to functional music (e.g. music for religious services, ceremonial occasions, commercials) all these situations impose significant external constraints on the form: The composer's formal decisions do not derive primarily from the needs of the musical material. In concert music, by contrast, the composer is exploring and elaborating the chosen material in such a way as to satisfy an attentive musical ear. Despite my belief that counterpoint is best studied through tonal exercises (it is easier for a beginner to work within a familiar framework than to define a coherent language from scratch), the principles defined here will not be entirely limited to tonal music. The thoughtful reader will quickly see applications which do not depend on tonality. 此部分共[4]页： 1>> 2>> 3>> 4>> 〖Principles of Counterpoint by Alan Belkin〗
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