Music in Western Civilization《西方文明中音乐》[摘抄]4

Music played an important role in the drama, but we must admit that this role is not very clear. We know that the chorus had vocal functions; it prefaced scenes and accompanied them. In the tragedy its original number, twlve, was later increased to fifteen, while in the comedy its number rose to twenty-four. We also know that the individual actors broke into song and that the aulos played during the action, thereby lending to the play a melodramatic touch (in the ancient, not the modern, sense). The aulos was the only and exclusive instrument of the theater; it was never employed except singly, and it was never exchanged for the lyre.

音乐在戏剧中具有重要作用，但必须承认，对这种作用的确切情况我们知之甚少。我们知道，合唱队具有声乐的功用，它出现在场景之前并伴随场景的展开。悲剧中的合唱队原来人数有十二人，后增至十五人；喜剧中人数达到二十四人。我们也知道，剧中人物会放声歌唱，阿夫洛斯管的演奏一直伴随着剧情中的动作进行，从而使戏剧带有某种音乐话剧(melodrama)的感觉—当然是古代意义而非现代意义的音乐话剧。阿夫洛斯管是剧院里所使用的唯一乐器，只单独使用，从不与里尔琴交替。

It is the nature of the simplest and oldest form of drama that, at the height of intensity of feeling and excitement, it turns into music, because music is able to continue to express emotions when the deeply stirred soul of man can utter only inarticulate aries. Sophocles was a dramatist; his strength lies in the conduct of a plot, an action. But Aeschylus, a musician, a choral lyricist, creates works prompted by a mood of profound innter excitement, the mood of a composer, one which procedes articulate poetic ideas. To communicate this mood successfully he must appeal to the emotional responsivess of the public, and the means he uses to this end are of a lyrico-musical nature. In the days of Aeschylus, music and lyricism still formed an indivisible entity, and word and tone, poem and melody were created simultaneously.

在感情表现到达极度亢奋时，戏剧会转向音乐。这是最单纯和最古老的戏剧形式的本质要求，因为人的灵魂被深深震撼而只能胡言乱语般呼喊时，只有音乐才能继续表达感情。索福克勒斯是位戏剧家，他的力量在于对情节动作的展示处理。而埃斯库罗斯，一位音乐家，一位合唱抒情诗人，却创造了因深刻的内心激动而出发的作品。他的情愫是作曲家的情愫，先于清晰明确的诗的意念。为了表达这种情愫，他必须诉之于公众的情感反应，他所使用的手段具有音乐性—抒情性的特指。在埃斯库罗斯时代，音乐和抒情乃是不可分割的整体，言辞与音调、诗歌与旋律同时被创造出来。

Correspondences and proportions, which play so important a role in music, can be expressed in numbers. To the Greek mind music was part of a mathematical philosophy which the Pythagoreans, the precursors of Russell, Eddington, and Einstein, held to represent the whole of philosophy. Or to put it differently, we may say that the mathematical theory of harmony was part of a general theory of the harmony of the cosmos. The disciples of Pythagoras, as well as the non-Pythagorean authors, agree in attributing the discovery of the numeric laws of harmony to the great philosopher, and they are unanimous in their praise of the importance of this discovery.

对应与比例的关系在音乐中占据重要地位，可用数字表示。在希腊人心目中，音乐是数学哲学的一个组成部分。，其现代的后继者是罗素、爱丁顿和爱因斯坦。简言之，和谐的数学理论是宇宙和谐普遍理论的一个分支。，发现和谐数字规律的成就应归功于这位伟大的哲学家，他们无一例外都称赞这项发现无比重要。