从乐音序列到音乐事件——以约翰·凯奇的《4分33秒》为例  

From the Musical Sequence to the Musical Event:With John Cage’s 4’33″ as an Illustration

作　　者：陈芸 

机构地区：[1]南京大学艺术学院 [2]浙江理工大学艺术与设计学院

出　　处：《文化研究》2018年第2期250-262,共13页Cultural Studies

摘　　要：约翰·凯奇宣称“声音就是各种可能性的事件”。他的观点引发听者对音乐媒介认知模式的思维逆转:从乐音与噪音两者之间分立对抗的二元关系转变为彼此和解融合的共同体。本文以《4分33秒》为例,聚焦凯奇提出的“声音”概念和“时间”观念,阐明当代音乐审美语境下的声音媒介、时间观念、聆听方式、音乐文化内涵等诸方面的内在关系。从乐音序列到音乐事件的艺术观念转型是理解凯奇音乐作品乃至当代音乐审美文化之关键所在。John Cage claimed that“Sounds are events in a field of possibilities”.His viewpoint inspired listeners to transform their thinking of the cognitive model of music medium:the separate confrontation binary relation between music sound and noise is transformed into a community of mutual reconciliation and fusion.This paper focuses on the“sound”concept and“time”notion proposed by Cage,and illustrates the intra-relationships among sound medium,time concept,listening manner,music cultural connotation,etc,with the example of4′33″.The artistic concept transformation from music sequence to music event is the key for Cage s music works and even modern music aesthetic culture.

关 键 词：约翰·凯奇 《4分33秒》 声音 沉默 音乐事件 

分 类 号：J605[艺术—音乐]